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Germaine DulacA Cinema of Sensations$
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Tami Williams

Print publication date: 2014

Print ISBN-13: 9780252038471

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252038471.001.0001

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Dulac’s Aesthetic Matures

Dulac’s Aesthetic Matures

Chapter:
(p.124) Chapter 4 Dulac’s Aesthetic Matures
Source:
Germaine Dulac
Author(s):

Tami Williams

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252038471.003.0004

This chapter illustrates Dulac's gradual shift from scenic naturalism and pictorial symbolism to the use of film-specific technical effects, and a choreography and montage-based notion of “rhythm within and between the images” in her feminist classic La Souriante Madame Beudet (1923), her subversive short L'Invitation au voyage (1927), and in a new restoration of her first surrealist film La Coquille et le clergyman (1927). The chapter also analyzes Dulac's lesser known La Folie des vaillants (1925), which among her narrative films comes closest to fulfilling her ideals of a “visual symphony” and a “pure cinema” free from the conventions of literature and theater.

Keywords:   Germaine Dulac, scenic naturalism, pictorial symbolism, technical effects, La Souriante Madame Beudet, L'Invitation au voyage, La Coquille et le clergyman, La Folie des vaillants

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