|Opening Film (9)||New Currents (39)|
|120 Years of French Women’s Cinema, 1896-2016: from Alice Guy-Blaché to New Generation (27)||Polemics: Comfort Women - Memory, Commemoration and Films (6)|
|Queer Rainbow (11)||Asian Short Film & Video Competition (19)|
|I-TEENS (7)||Documentary Ock Rang Award (1)|
|Barrier Free Screening (1)||A Woman Judge, 1962X2016 (1)|
|In Memory of Chantal Akerman: Nowhere and Everywhere (4)|
SYNOPSIS Gender roles are reversed. A woman pretends to be a man and a man pretends to be a women. ⓒ\"The Consequences of Feminism\", a film by Alice Guy. Gaumont Production (1906). D.R. Program Note What if the gender roles changed under the influence of
feminism, a new invention of modern times? The near future that Alice
GUY-BLACHÉ, a new woman in the early 20th century, imagined is marvelous. Under
the influence of feminism, while men are swamped with parenting and all kinds
of house chores, women stick their nose in the air doing nothing but smoking
cigarettes in the women’s only salon. The unilateral and violent sexual
relationships are to be changed accordingly. Will suffering men resist or put
up with this situation? On the surface, this film is not totally supporting
feminism. The overly exaggerated portrait could function rather as a mockery or
travesty of feminism. The detailed mirroring practices of gender roles in this
film, however, lead us to speculate on the unfair and unreasonable situation in
which women are stuck. In the end, feminism is something that needs to be
supported. [CHO HeyYoung]
Gender roles are reversed. A woman pretends to be a man and a man pretends to be a women.
ⓒ\"The Consequences of Feminism\", a film by Alice Guy. Gaumont Production (1906). D.R.
What if the gender roles changed under the influence of
Alice GUY-BLACHÉAlice GUY-BLACHÉ
"Born in 1873 in Paris, France, Alice GUY-BLACHÉ was a pioneer of both French and American film. She first started out as the secretary to Léon GAUMONT, unknowingly stepping into the vortex from which cinema would be born. She, who was at the Lumière Brothers' first screening in 1895, realized that movies could do more than document workers leaving a factory. She asked her boss, GAUMONT, for permission to do something better: to tell a story. Despite her youth and inexperience, she wrote her own script and succeeded in making one of the first narrative films, The Cabbage Fairy, in 1896, which preceded the story films of Georges MÉLIÈS. She worked as head of film production for the Gaumont Film Company in Paris until 1907 when she moved to the United States. Three years later, she created her own company, Solax, and set up a studio in 1912, becoming the first woman to own and run a studio plant. Her innovative filmmaking career in France (1896-1907) and the United States (1910-1920), in which she employed color tinting, 'trick' photography, interracial casting, and synchronized sound, is comprised of more than a thousand films which she wrote, produced, or directed. Despite the depth of her work, her contribution in shaping early cinematic history has been overlooked, and she is often revered as a lost great visionary of cinema.