From: Vikki Riley <riley.vikki-AT-gmail.com>
Date: 01 Mar 2010 17:21:24 UTC   (02:21:24 PM in author's locale)
To: Situationist <situationist-AT-lists.nothingness.org>

Riefenstahl didn't document any atrocities Laurie. If you don't think
she was a genius stick to MTv.
No idea why you would find Nick Cave dolls in NZ. As for learning to
throw a boomerang, well women don't do that, sorry.

On Sun, Feb 28, 2010 at 7:26 AM, Laurie Colson <lauriecolson-AT-yahoo.com> wrote:
> Riefenstall  gets a lot of o aura cause she documented the atrocity. Maybe she was a good photographer, maybe she was bright average but hardly a genious, Alice Blach innovated, had her own studio, which hadto close. she got royally screwed. Try to find the nov/dec article on her. remember when you said victorian women were kept home 'tatting' (victorian laceexhibit in Cleveland art museum is high  art, fine art, not craft. and that if a man were luky(in vic times) his girl would behome writing Wuthering Heights?(notbeingrapedbyarabcontingent) Would he be  lucky if she were writing Middlemarch, or theYellow Wallpaper? Or the first science fiction novel, Frankenstein? Mary Shelly? Just a wondering. I've crawled around the floor, myself at times.... my husband used to say, can you quit 'writing' and get some damn work done? I wasn't pulling the wall paper off, just looking for pills or rocks i might have dropped....luckily i gave up the drink.  I'm ok
>  now, enjoying the inalienalbe right to eat Fred Astaires asshole. I wantto viisit you I want to tilt windmills, haystack lightning, roll cumquats, roll in red dirt, swim  to New Zealand, look for Nick Cave, or Nick Cave Dolls. Maybe play some foosball with you, learn boomerang.....Please may I visit? might I get my broken fucked up teeth fixed there? everyone there has beutiful smiles. no dental here. back teeth would rock!  Laurie, queen of the fifty foot non sequitor.  leavin via the hairway to steven
> People like us who will answer the telephone
> People like us, gonna make it because
> We don't want freedom,
> We don't want justice,
> We just want someone to love.
> What good is freedom
> God laughs at people like us....
>
>
>
>
> ________________________________
> From: Vikki Riley <riley.vikki-AT-gmail.com>
> To: Situationist <situationist-AT-lists.nothingness.org>
> Sent: Wed, February 24, 2010 10:13:48 PM
> Subject: Re: Alice Guy Blache, Cinema Pioneer at Whitney Museum
>
> Riefenstahl was a photographer of the Nubian people as well. Carol
> Beckwith in the 1970s took her inspiration from riefenstahl. She was a
> genius alright. her editing techniques straight from Eisenstein's
> book. As for her connection to the Third Reich and homoeroticism
> that's clear; gay culture certainly took all that up in the 80s. Am in
> Sydney at present and the streets are lined with Riefenstahlian
> banners in preparation for Saturday's big Mardi Gras... thousands of
> Freddie Mercury clones dragging their luggage around already.
>
> Vikki
>
> On Thu, Feb 25, 2010 at 1:03 AM, Laurie Colson <lauriecolson-AT-yahoo.com> wrote:
>> yea, I never heard of her before I read of her in Artforum. I must say, there is some great writing there. Leni, 'no publicity is bad publicity.. ' just ask the p.r. at the third reich, huh?
>> Yep!
>> --- On Sat, 2/20/10, JEAN PARR <jeanparr-AT-btinternet.com> wrote:
>>
>>
>> From: JEAN PARR <jeanparr-AT-btinternet.com>
>> Subject: Re: Alice Guy Blache, Cinema Pioneer at Whitney Museum
>> To: "Situationist" <situationist-AT-lists.nothingness.org>
>> Date: Saturday, February 20, 2010, 5:36 AM
>>
>>
>> Laurie
>>
>> As usual you come up with some great stuff you cant ignore. Of course the whole cinema thing, even when I was learning film editing you had these cinemascope mute projectors, all broken being used as door stops, some of them 9.5 mm. They were from her era. Some of my colleagues were trying to bin this stuff and I was always trying to get it to work, stuff was so well made that you could invariably drill and file and get things to run.
>> Not like now. Plug and pray.
>> Its very sad she had to behave like a girl. The fucking french are impossible like that. Look at Joan of Arc. Alice is Joan of the Nitrate.
>> When I was born this shit was going down only fifty years before. However some girls were smart motherfuckers. Look how Leni picked up the baton and her Arriflex not twenty years later. Those nazi cineastes thought she was a rock star
>>
>> BNBears
>>
>> --- On Thu, 18/2/10, Laurie Colson <lauriecolson-AT-yahoo.com> wrote:
>>
>>> From: Laurie Colson <lauriecolson-AT-yahoo.com>
>>> Subject: Alice Guy Blache, Cinema Pioneer at Whitney Museum
>>> To: "To:" <situationist-AT-lists.nothingness.org>
>>> Date: Thursday, 18 February, 2010, 6:54
>>>
>>>
>>> (Wall St. Journal, Jan.5,2010,Arts&Entertainment)
>>> Groundbreaker In So Many Ways
>>> By KRISTIN M. JONES
>>> New York
>>> The movie business can be notoriously difficult for female
>>> directors, but in 1895 when a 21-year-old named Alice Guy
>>> proposed using cinema to capture more than parades and
>>> trains, her boss indulgently called it "a young girl's
>>> thing." Although her career was later forgotten, that girl
>>> became the first director and head of production at the
>>> French studio Gaumont and an early entrepreneur in the
>>> American movie industry. Offering more than 80 rare works,
>>> "Alice Guy Blaché: Cinema Pioneer," organized by Whitney
>>> Museum curator-at-large Joan Simon, is part of a burgeoning
>>> effort to re-establish her place in film history.
>>> The daughter of a bookseller, Guy became secretary to the
>>> inventor Léon Gaumont in 1894. She suggested using the
>>> Gaumont motion-picture camera to create a story film after
>>> they attended a demonstration of the Lumière brothers'
>>> cinématographe and viewed, projected on a sheet, now-famous
>>> footage of workers leaving the Lumière factory. Gaumont
>>> agreed, as long as Guy didn't neglect her office duties. "If
>>> the future development of motion pictures had been foreseen
>>> at this time," she later wrote, "I should never have
>>> obtained his consent. My youth, my inexperience, my sex, all
>>> conspired against me."
>>>
>>>
>>>
>>>
>>>
>>>
>>> View SlideshowLibrary of Congress MBRS Division/ George
>>> Willeman
>>> From 'The Ocean Waif' (1916).
>>> Her debut, which she recalled directing in 1896, was "La
>>> Fée aux choux" ("The Cabbage Fairy"), a winsome vignette in
>>> which a fairy plucks babies from a cabbage patch. Eighty
>>> copies were sold, and Guy went on to produce and direct
>>> hundreds of movies for the company, from dance films to
>>> melodramas. She deftly incorporated hand-tinting and trick
>>> photography; using a Gaumont invention, the Chronophone, she
>>> also made more than 100 synchronized sound films, long
>>> before sound became standard in cinema.
>>> Her visual flair, use of real locations and imaginative
>>> scripts for comedies and dramas defined the Gaumont style.
>>> Before Charlie Chaplin and Buster Keaton, she directed
>>> hilariously deadpan slapstick comedies, such as "Le Matelas
>>> alcoolique" or "Le Matelas épileptique" ("The Alcoholic
>>> Mattress" or "The Epileptic Mattress," 1906), in which a
>>> drunk is sewn into bedding. And before D.W. Griffith, she
>>> used expressive close-ups in the saucy "Madame a des envies"
>>> ("Madame Has Cravings," 1906), about a pregnant woman who
>>> steals and savors phallic treats. Guy based the costumes and
>>> sets in her monumental yet movingly nuanced "La Vie du
>>> Christ" ("The Life of Christ," 1906) on watercolor
>>> illustrations in the Tissot Bible (currently on view at the
>>> Brooklyn Museum), which had impressed her at the 1900
>>> Exposition Universelle in Paris.
>>> After a decade working in France, she relocated with her
>>> new husband, Herbert Blaché, another Gaumont employee, to
>>> the U.S., where they worked in Cleveland, then Flushing,
>>> N.Y. In 1910 Guy Blaché opened her own studio, Solax,
>>> leasing space from Gaumont. The venture was so profitable
>>> that two years later she spent $100,000 to build a spacious
>>> glass-roofed facility in bustling Fort Lee, N.J., a
>>> pre-Tinseltown moviemaking hub. There she nurtured a stable
>>> of stars and tackled genres including westerns, comedies,
>>> detective stories and domestic dramas.
>>>
>>>
>>> Alice Guy Blaché: Cinema Pioneer
>>> Whitney Museum of Art
>>> Through Jan. 24
>>> Even with ambitious sets and stunts, storytelling remained
>>> paramount. For "Dick Whittington and His Cat" (1913), she
>>> exploded a ship off the Jersey Shore, rather than using a
>>> model. Alan Williams writes in the Whitney catalog that this
>>> tale, which some consider the masterpiece of her Solax
>>> years, "is, in a very real sense, the anti-Griffith
>>> historical film. Rather than spectacular in sets, or in
>>> acting, or in turns of plot, it is intimate and natural, a
>>> strange story told in a matter-of-fact manner." Simply by
>>> hanging signs reading "Be Natural" around the studio, Guy
>>> Blaché elicited sensitive performances.
>>> Journalists praised the polished results—and the charming
>>> "Madame Blaché"—but Solax didn't last past 1914. Guy
>>> Blaché worked for Herbert's new company Blaché Features,
>>> their joint venture the U.S. Amusement Corp., and other
>>> studios. She brought increasing emotional depth to her
>>> female characters, like the heroine of the radiant melodrama
>>> "The Ocean Waif" (1916), who escapes from an abusive foster
>>> father and, despite obstacles, finds happiness with a
>>> wealthy young novelist.
>>> In 1918 Herbert decamped for California with an actress.
>>> After Guy Blaché contracted Spanish influenza, he brought
>>> the family to Hollywood and she assisted him on two films.
>>> In 1922 she returned to France, where she fruitlessly sought
>>> directing work, relying on magazine writing and, later on,
>>> her children's support to survive. Her achievements were
>>> neglected there as well, though in 1955 she was awarded the
>>> Légion d'honneur.
>>> The Whitney retrospective isn't the only welcome
>>> opportunity to sample Guy Blaché's long-unavailable work
>>> and consider her role in shaping early narrative cinema. The
>>> three-DVD box set "Gaumont Treasures: 1897-1913" (Kino
>>> Video) includes more than 60 of her Gaumont movies. She
>>> employed and trained one of the other visionaries featured
>>> in the set, Louis Feuillade; the third, Léonce Perret, was
>>> hired after her departure to work in a similar style.
>>> Whether Guy Blaché directed the first fiction film has
>>> been hotly debated. She never claimed that distinction, but
>>> did want to be recognized as the first female director. She
>>> died believing that her lively memoirs—in which she
>>> proclaimed cinema her "Prince Charming"—would never appear
>>> in print, and that nearly all her work had been lost. But
>>> her autobiography was published posthumously, over 130 films
>>> have been rescued from oblivion and her stature continues to
>>> grow. It's a reversal of fortune worthy of a Madame Blaché
>>> production.
>>>
>>>
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