google-site-verification=lRHEWCH_lhUcC3jfPGqtqzJYWrTKG3-D4icy5WBVWXU
 

PIONEER WOMEN

Screenings dedicated to pionner women in the film industry

Lotte_Reiniger.jpg

LOTTE REINIGE
(1899-1981)

LotteReiniger2.jpg

From an early childhood, Reiniger demonstrated both his fascination with the Chinese art of shadow theater and his creativity and skill in building his own puppet theater so he could present shows for family and friends.

 

As a teenager, she was influenced by the special effects of Méliès' films and, later, by the films of actor and director Paul Wegener, now best known for his work “The Golem” (1920). In 1915, she participated in a lecture by Wegener on the fantastic possibilities of animation, becoming fascinated with this art, enrolling in the theater group – Max Reinhardt's Theater – to which Wegener belonged. He starts working behind the scenes, making costumes and props, as well as silhouette portraits of the various actors around him. In a short time, he started making elaborate title cards or intertitles for Wegener's films, namely for the film “Der Rattenfänger von Hameln” (The Pied Piper of Hamelin).

 

The success of this work led to his acceptance at the Institut für Kulturforschung (Institute for Cultural Research), a studio for experimental animation and short films. There she meets her future husband and creative partner Carl Koch, as well as other avant-garde artists including Hans Cürlis, Bertolt Brecht and Bertold Bartosch.

Using the technique of articulated silhouettes, the director produced more than 70 animated films, most of which are lost. The puppets in her films were cut and manipulated in the light of the camera by herself.

 

In addition to cinema, Reiniger designed sets and wardrobes for opera productions, staged puppet shows and shadow theatre, illustrated books, newspapers and magazines.

 

Based on the heritage she left behind, she is confirmed as a talented artist with works of ink and watercolor painting, as well as a writer and poet. He frequently gave lectures on animation processes and the history of experimental cinema.

The Adventures of Prince Achmed

Lotte Reiniger

Live music and music | Space Ensemble

Intertitles voiceover | Celia David

24 Oct | 4.30 pm | Luísa Todi Municipal Forum

 
Space Ensemble
Space Ensemble

Sessão "As Aventuras do Príncipe Achmed" © Pedro Madeira

press to zoom
Space Ensemble
Space Ensemble

Sessão "As Aventuras do Príncipe Achmed" © Pedro Madeira

press to zoom
Space Ensemble
Space Ensemble

Sessão "As Aventuras do Príncipe Achmed" © Pedro Madeira

press to zoom
Space Ensemble
Space Ensemble

Sessão "As Aventuras do Príncipe Achmed" © Pedro Madeira

press to zoom
Space Ensemble
Space Ensemble

Sessão "As Aventuras do Príncipe Achmed" © Pedro Madeira

press to zoom
1/1
Germaine_dulac2.jpg

Germaine Dulac was one of the first female feminist filmmakers and a key figure in the development of Avant-Garde cinema, also known as French Impressionism, in the 1920s.

 

She began her career as a photographer and wrote several articles for the feminist newspapers of her time: La Fronde and La Française. After the end of World War I and intrigued by cinema and its industry, she created her production company Delia Film. In 1917, together with Louis Delluc, they started the French avant-garde movement. Dulac was the “center” of French Impressionism flanked by intellectuals and filmmakers dedicated to promoting cinema as the Seventh Art.

 

Dulac was fascinated by movement and his abstract works are an example of this. He tried to create a style he called “the integral film, a visual symphony made of rhythmic images”, the film “La Coquille et le Clergyman (1927)” is his best example. In addition to abstract images, Dulac was also known for her devotion to feminist causes that can be seen in her best-known and somewhat more traditional film “La Souriante Madame Beudet (1923)”.

 

Like all avant-garde filmmakers, he sought a pure cinema, made only of rhythm, of the chain of images, which associate and eventually dissociate.

Germaine_dulac_edited.jpg

GERMAINE DULAC
(1882-1942)

By Germaine Dulac

Live score | Sara Ribeiro (vocals) and Alexandre Bernardo (guitar)

12 Oct. | 7 pm | The Graphic

INVITATION TO A JOURNEY

 
Concha.3.jpg

By Germaine Dulac

Live Music | Helena Silva

16 Oct. | 9.30 pm | Cinema Charlot

THE SEASHELL AND THE CLERGYMAN

 
Disque.3.jpg

DISK 957

By Germaine Dulac

Live score | Helena Silva

16 Oct. | 9.30 pm | Cinema Charlot

 
Helena Silva
Helena Silva

Sessão de "Disco 957" e "A Concha e o Clérigo" © Pedro Madeira

press to zoom
Helena Silva
Helena Silva

Sessão de "Disco 957" e "A Concha e o Clérigo" © Pedro Madeira

press to zoom
Helena Silva
Helena Silva

Sessão de "Disco 957" e "A Concha e o Clérigo" © Pedro Madeira

press to zoom
Helena Silva
Helena Silva

Sessão de "Disco 957" e "A Concha e o Clérigo" © Pedro Madeira

press to zoom
1/14