This concluding chapter explains how Dulac's cinema, in its aesthetic and sociopolitical complexity, is only beginning to be recognized and understood. Dulac studies until recent years had been limited to a few films, and predominantly to a feminist theoretical approach that launched a recovery of this great filmmaker in the Anglophone context. In contrast, in the French context, Dulac's work has long been subject to a depoliticized formalism, where identity politics and gender considerations have only slowly been making their way into film studies. Drawing on various archival materials (manuscript, printed, filmic) and secondary sources, and considering the environment's dynamic sociopolitical context, the chapter further reveals Dulac's films and her filmic ontology of a “pure cinema,” a cinema of suggestion and potentiality.
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