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• W64853220 abstract "In 1920, at the height of the film movement, its only female member Germaine Dulac released her tenth film La Belle Dame sans merci, which she wrote in collaboration (1) with her friend Irene Hillel-Erlanger, a surrealist poet also known as Claude Lorey. (2) In Hillel-Erlanger's words La Belle Dame sans merci is une histoire comme il y en a dans la vie de chacun de nous,... riche de ces chocs et mouvements intimes qui bouleversent les coeurs et les ames (134). This definition is evocative of melodrama (3), a genre aiming precisely at shattering hearts and souls by means of stories rich in shocks. However, one should not expect to find in Dulac's La Belle Dame sans merci the conventional structures of melodrama. To quote Susan Hayward. (4) [w]hether working for mainstream or alternate independent cinema. Dulac never stopped experimenting. This experimentation functioned on three imbricated levels: reworking genres. exploring the possibilities of film language and redefining the representation of subjectivity. Thus, whilst she did make ... serials. bourgeois melodramas. fantasy and fairy talc films, she did not allow them to rest safely within their generic modalities or moulds. Working within these popular genres she would take their dominant discourses and extend, Distort, subvert them even. In this way, the bourgeois melodrama as a sentimental narrative becomes reworked into a psychological and feminine subjective experience. (26-27) Hayward's analysis provides me with the theoretical tools I will use to examine Dulac's film. In this article, I will argue that La Belle Dame sans merci is indeed a transformation of the melodramatic genre, a redefinition of the representation of subjectivity, an exploration of the possibilities of film language, and a subversion and distortion of the dominant discourse The better to appreciate Dulac's film practice, one must consider the context in which she worked. In the wake of World War I, the French film industry, until then dominant in the world market, was on the verge of bankruptcy. The three studios (Pathe, Gaumont, and Eclair), which also controled film distribution, were showing an increasing number of American movies, and movies by Buster Keaton and Charlie Chaplin were well received by the French audience. France, which in 1910 produced sixty percent of the films distributed in the world, was progressively losing its quasimonopoly as the United States gained fifty percent of the French market in 1917, seventy-five percent in 1919, and ninety-five percent in 1924. (5) Refusing the hegemony of the American cinema on the one hand and the predominance of popular French films (serials and melodramas) on the other, several filmmakers joined forces to give French cinema its specificity, following the example of Louis Delluc, who claimed: . . que le cinema francais soit francais! Que le cinema francais soit cinema! (6) These filmmakers, Louis Delluc, Germaine Dulac, Jean Epstein, Marcel L'Herbier, and Abel Gance believed that cinema, an art with its own set of rules, must break away from other arts, especially literature and theater, which smother cinema through text adaptation. They wished to explore the technical possibilities specific to cinema and use them to meaningful ends. Thus, camera movements, angles, lighting, slow motion, editing, framing, or superimposition were used to signify a particular atmosphere or a particular psychological condition of a character. Pushed to the extreme, the exploration of film language led to films like Vicking Eggeling's Symphonie diagonale (1924), which shows geographical forms moving on the screen at different speeds and under different lightings. Such visual poems, (7) even if they exemplify the possibilities of film language, did not attract large audiences, even in the cine-clubs created at the time for the very purpose o f showing such movies. Realizing that un film sans sujet (8) would never be a commercial success, filmmakers like Abel Gance and Germaine Dulac opted in favor of a juste milieu, an Avant-Garde narration so to speak. …" @default.
• W64853220 created "2016-06-24" @default.
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• W64853220 date "2001-09-22" @default.
• W64853220 modified "2023-09-23" @default.
• W64853220 title "The Male Gaze Subverted: Germaine Dulac's la Belle Dame Sans Merci" @default.
• W64853220 hasPublicationYear "2001" @default.
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