Germaine Dulac

Sog.: dall’opera teatrale “Opad” di Christian K.F. Molbech; Scen.: Germaine Dulac e Alexander Volkoff; F.: Jules Kruger, Nicolas Toporkov; Scgf.: Alexander Lochakoff; Ass. R.: Marie-Anne Malleville; Int.: Ivan Pétrovich (Herbert Campbell, il poeta), Nicolas Koline (Morris, padre adottivo di Helen), Mabel Poulton (Helen Taylor), Yvette Andréyor (Edith Campbell, moglie del poeta), Henry Houry (Lord Stamford, “Mylord”), Jeanne Bérangère (madre di Edith), Félix Barré (Phillips, direttore del teatro), Gina Manès (attrice), Char- les Vanel (attore), Lou Davy; Prod.: Ciné-France-Film (Westi Consortium) 35mm. L.: 2032 m. D.: 100’ a 18 f/s. Bn.


T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

At the premiere of Âme d’artiste, a text included in the programme entitled “Are you friends of the cinema?” asked spectators to open their spirits in support of a pure cinema, free from the other arts. In her film, Dulac further interpolates the spectator in this regard. This backstage comedy, based on a late 19th century play by Danish poet Christian Molbech, highlights the specificity of the cinematic medium in relation to theatre through its innovative use of newsreels, technical effects, and mise-en-abîme. The film’s surprising opening, and the drama that ensues between a fragile, love-struck poet and a beautiful, independent actress, announces its cinematic specificity and reversal of gender roles. Through Âme d’artiste, Dulac seeks not only to draw attention to the film’s status as representation, but also to demonstrate its superior capacity in this regard.

Tami Williams


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Print restored from a nitrate negative