https://www.spreaker.com/podcast/silent-women--6070283
The intent of this collection of poems is to give a voice to some female filmmakers of the silent era, 21 like our current century, and to trigger in listeners the desire to find more about them.

Each terza rima poem is introduced with music by a female composer of the same country of the filmmaker, who might have listened to her composition while at work.

Written and recited by Chiara Spagnoli Gabardi

Sound editing by Massimo Privitera
(Musicologist, Founding Director of Colonne Sonore magazine, and longtime friend)]]>enFilm HistoryChiara Spagnoli Gabardihttps://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/017c7730a36ab7dfeb0f4d800708a6b9.jpghttps://www.spreaker.com/podcast/silent-women--6070283Thu, 08 Feb 2024 19:57:20 +0000Chiara Spagnoli GabardiChiara Spagnoli Gabardichiaraisabellaspagnoligabardi@gmail.comFor many decades women cinéastes were swept into oblivion. At long last their visual artistry has been brought back to the light, but what would happen if some of their tattered audio recordings were found? What would each one tell us about her life...
The intent of this collection of poems is to give a voice to some female filmmakers of the silent era, 21 like our current century, and to trigger in listeners the desire to find more about them.

Each terza rima poem is introduced with music by a female composer of the same country of the filmmaker, who might have listened to her composition while at work.

Written and recited by Chiara Spagnoli Gabardi

Sound editing by Massimo Privitera
(Musicologist, Founding Director of Colonne Sonore magazine, and longtime friend)]]>falsedc8b4fe6-8a9c-54bd-8f4d-713b3a57f006serialhttps://www.spreaker.com/episode/alice-guy-blache-with-music-by-cecile-chaminade--58413843While other voices have been kept sealed too long
This is why we should have a united front

Nineteenth century France is where I belong
Though I worked and lived also in the U.S.
My passion for moving pictures was so strong

That my first narrative film was a success
The Cabbage Patch Fairy even had sequels
But I must start from my birth to then progress

Emile and Marie Guy were no rebels
I was their fifth child and first wanted to act
Father said it was not meant for demoiselles

My reputation had to be kept intact
It was more bourgeois to learn stenography
My skills working at Gaumont had an impact

I began as a simple secretary
A private screening of the Lumière Brothers
Made me see potential in this artistry

I came up with close-ups, double exposures,
Hand-tinted colours, special effects, split-screens
And synchronised sound amongst many others

French literature inspired some of my scenes
The Passion of Christ and social issues too
I tried to go beyond portraying routines

An African-American cast came through
I discussed planned parenthood and child abuse
Kids are the best performers for how they’re true

I was a working mum while I would produce
Simone and Reginald were on set with me
They watched how I changed the traditions in use

I had men and women swap clothes to be free
Gender role reversals meant males in corsets
The habitual garment for Alice Guy

Blaché I became with marriage and more projects
I fell in love with Herbert, an English man
For him I relinquished Paris and baguettes

We ventured into the New World with a plan
Expanding the magic of motion pictures
Solax my production company began

Fort Lee gave wave to cinematic mixtures
I was thirty three and he was twenty four
All was going according to the scriptures

With the Great War no instant was as before
The licensing fees of Edison to work
Ended East Coast filmmaking forevermore

My husband was spellbound by Hollywood’s perk
His Californian girls led us to divorce
I couldn’t find a job not even as a clerk

Back to France with my children and no remorse
Yet the scene had changed for female directors
The Great Depression deprived me of my force

I depended on my daughter’s job sectors
At the American Embassy posts changed
The two of us became country collectors

In books about cinema I was estranged
My works were credited to male filmmakers
Historians took no care in this exchange

Many hundreds of screenplays I would create
Shooting and editing were all my domain
Even the business plan I could conjugate

Script theft was something I knew how to refrain
I used powder to detect the fingerprints
We were writing the new rules to entertain

The Picture Show provided several glints
One of the mistresses of my former consort
Had her historical title in misprints

Lois Weber was first in the U.S. court
I was the first female filmmaker worldwide
There’s no desire of merit in this report.]]>https://api.spreaker.com/episode/58413843Sat, 27 Jan 2024 18:12:35 +0000Chiara Spagnoli GabardiHistory is defined by the dominant While other voices have been kept sealed too long This is why we should have a united front Nineteenth century France is where I belong Though I worked and lived also in the U.S. My passion for moving pictures was...While other voices have been kept sealed too long
This is why we should have a united front

Nineteenth century France is where I belong
Though I worked and lived also in the U.S.
My passion for moving pictures was so strong

That my first narrative film was a success
The Cabbage Patch Fairy even had sequels
But I must start from my birth to then progress

Emile and Marie Guy were no rebels
I was their fifth child and first wanted to act
Father said it was not meant for demoiselles

My reputation had to be kept intact
It was more bourgeois to learn stenography
My skills working at Gaumont had an impact

I began as a simple secretary
A private screening of the Lumière Brothers
Made me see potential in this artistry

I came up with close-ups, double exposures,
Hand-tinted colours, special effects, split-screens
And synchronised sound amongst many others

French literature inspired some of my scenes
The Passion of Christ and social issues too
I tried to go beyond portraying routines

An African-American cast came through
I discussed planned parenthood and child abuse
Kids are the best performers for how they’re true

I was a working mum while I would produce
Simone and Reginald were on set with me
They watched how I changed the traditions in use

I had men and women swap clothes to be free
Gender role reversals meant males in corsets
The habitual garment for Alice Guy

Blaché I became with marriage and more projects
I fell in love with Herbert, an English man
For him I relinquished Paris and baguettes

We ventured into the New World with a plan
Expanding the magic of motion pictures
Solax my production company began

Fort Lee gave wave to cinematic mixtures
I was thirty three and he was twenty four
All was going according to the scriptures

With the Great War no instant was as before
The licensing fees of Edison to work
Ended East Coast filmmaking forevermore

My husband was spellbound by Hollywood’s perk
His Californian girls led us to divorce
I couldn’t find a job not even as a clerk

Back to France with my children and no remorse
Yet the scene had changed for female directors
The Great Depression deprived me of my force

I depended on my daughter’s job sectors
At the American Embassy posts changed
The two of us became country collectors

In books about cinema I was estranged
My works were credited to male filmmakers
Historians took no care in this exchange

Many hundreds of screenplays I would create
Shooting and editing were all my domain
Even the business plan I could conjugate

Script theft was something I knew how to refrain
I used powder to detect the fingerprints
We were writing the new rules to entertain

The Picture Show provided several glints
One of the mistresses of my former consort
Had her historical title in misprints

Lois Weber was first in the U.S. court
I was the first female filmmaker worldwide
There’s no desire of merit in this report.]]>243aliceguyblaché,cécilechaminade,film,france,music,poetry,usa,womenfalse11fullhttps://www.spreaker.com/episode/lois-weber-with-music-by-amy-beach--58413908My family was middle-class and Christian
Toiling young in missions became my chisel

For social justice in my work of fiction
They called it an unladylike profession
The craft of moving picture composition

Before that music was my one obsession
I was a pianist, organist and singer
When I reached New York I made the progression

The musical comedies made me linger
In the company of dear Philips Smalley
He became my husband, the perfect dinger

Our work-love companionship was so jolly
Being hired at Gaumont was so life-changing
One short film every week was quite a folly

With Madame and Monsieur Blaché mentoring
I was remodeled to auteur filmmaker
It was a grand cinematic beginning

Motherhood did not turn out to be my sector
The loss of Phoebe made me focus on film
My world became the screen and the projector

Making pictures in the West Coast was less dim
Universal City chose me as its mayor
My stories were fruit of conscience not of whim

Of progressive goals I became the conveyor
Birth control, addiction, eugenics and more
I captured on film and was called soothsayer

Structural complexity I would explore
The first U.S. feature by a woman was mine
Lois Weber Productions had so much in store

People would say I was ahead of my time
I enjoyed empowering female workmates
After the Twenties nothing was as before

Ladies’ brains were ignored, their bodies were baits
The wings they had creatively flapped were now clipped
The only sway was in their dresses and gaits

My film about gender politics was ripped
I had to abandon the Land of the Free
To the Old Continent and Orient we tripped

With Philips it was no longer meant to be
I returned to the New World and was divorced
Yet love had not at all given up on me

My need for a new life was therefore reinforced
With Captain Harry Gantz we set up a Ranch
All that was left of my fortune he outsourced

I tried to claim my cinematic revanche
But censorship smothered artistic freedom
Defeat tumbled upon me like an avalanche

I made one talkie, no spectator had come
I ultimately found delight in teaching
Movies act as a kinetic museum

I supplanted the black board with a screening
Despite this industry left me penniless
It must not discourage female pioneering.]]>https://api.spreaker.com/episode/58413908Sat, 27 Jan 2024 18:18:02 +0000Chiara Spagnoli GabardiI came to the world during a spring drizzle My family was middle-class and Christian Toiling young in missions became my chisel For social justice in my work of fiction They called it an unladylike profession The craft of moving picture composition...My family was middle-class and Christian
Toiling young in missions became my chisel

For social justice in my work of fiction
They called it an unladylike profession
The craft of moving picture composition

Before that music was my one obsession
I was a pianist, organist and singer
When I reached New York I made the progression

The musical comedies made me linger
In the company of dear Philips Smalley
He became my husband, the perfect dinger

Our work-love companionship was so jolly
Being hired at Gaumont was so life-changing
One short film every week was quite a folly

With Madame and Monsieur Blaché mentoring
I was remodeled to auteur filmmaker
It was a grand cinematic beginning

Motherhood did not turn out to be my sector
The loss of Phoebe made me focus on film
My world became the screen and the projector

Making pictures in the West Coast was less dim
Universal City chose me as its mayor
My stories were fruit of conscience not of whim

Of progressive goals I became the conveyor
Birth control, addiction, eugenics and more
I captured on film and was called soothsayer

Structural complexity I would explore
The first U.S. feature by a woman was mine
Lois Weber Productions had so much in store

People would say I was ahead of my time
I enjoyed empowering female workmates
After the Twenties nothing was as before

Ladies’ brains were ignored, their bodies were baits
The wings they had creatively flapped were now clipped
The only sway was in their dresses and gaits

My film about gender politics was ripped
I had to abandon the Land of the Free
To the Old Continent and Orient we tripped

With Philips it was no longer meant to be
I returned to the New World and was divorced
Yet love had not at all given up on me

My need for a new life was therefore reinforced
With Captain Harry Gantz we set up a Ranch
All that was left of my fortune he outsourced

I tried to claim my cinematic revanche
But censorship smothered artistic freedom
Defeat tumbled upon me like an avalanche

I made one talkie, no spectator had come
I ultimately found delight in teaching
Movies act as a kinetic museum

I supplanted the black board with a screening
Despite this industry left me penniless
It must not discourage female pioneering.]]>241amybeach,film,loisweber,music,poetry,usa,womenfalse12fullhttps://www.spreaker.com/episode/tressie-souders-with-music-by-florence-price--58413957To handle filmmaking through a non-white lens?
For women like myself there was no Klondike

I later achieved endurance through my friends
I was born in the South East, in Kentucky
Robert and Leuvenia were loving parents

When we moved to Kansas we all felt lucky
But rainbows were different for those like us
A darker shade of pale was seen as mucky

Black migrants as my kin were Exodusters
Quite soon though the two took their separate ways
I now stood on my own as Tressie Souders

African American life was a maze
Our aspirations could not be ambitious
After high school I started off my work phase

Being a maid turned out to be propitious
Mr. Nelson and his family were kind
I became an observer, never vicious

To the sharing of stories I was inclined
Since I performed in a morality play
Depicting lives on stage developed my mind

Film allowed me to advance in a new way
By shattering the stereotypes on Blacks
A Woman’s Error truly marked my heyday

Grand it could be in the era of Imax
I then chose to seek fortune in Hollywood
Yet domestic jobs remained my endorsed acts

I met Oscar and ended my maidenhood
My husband was in charge of a billiard hall
But my status as his Mrs. was no good

In San Francisco I no longer felt small
Madame C. J. Walker took me in her home
As a woman of colour she had it all

She was self-made thanks to hair products and foam
And proved that dreams can be a reality
No limitations should come from a genome.]]>https://api.spreaker.com/episode/58413957Sat, 27 Jan 2024 18:21:40 +0000Chiara Spagnoli GabardiHave you ever wondered how it can feel like To handle filmmaking through a non-white lens? For women like myself there was no Klondike I later achieved endurance through my friends I was born in the South East, in Kentucky Robert and Leuvenia were...To handle filmmaking through a non-white lens?
For women like myself there was no Klondike

I later achieved endurance through my friends
I was born in the South East, in Kentucky
Robert and Leuvenia were loving parents

When we moved to Kansas we all felt lucky
But rainbows were different for those like us
A darker shade of pale was seen as mucky

Black migrants as my kin were Exodusters
Quite soon though the two took their separate ways
I now stood on my own as Tressie Souders

African American life was a maze
Our aspirations could not be ambitious
After high school I started off my work phase

Being a maid turned out to be propitious
Mr. Nelson and his family were kind
I became an observer, never vicious

To the sharing of stories I was inclined
Since I performed in a morality play
Depicting lives on stage developed my mind

Film allowed me to advance in a new way
By shattering the stereotypes on Blacks
A Woman’s Error truly marked my heyday

Grand it could be in the era of Imax
I then chose to seek fortune in Hollywood
Yet domestic jobs remained my endorsed acts

I met Oscar and ended my maidenhood
My husband was in charge of a billiard hall
But my status as his Mrs. was no good

In San Francisco I no longer felt small
Madame C. J. Walker took me in her home
As a woman of colour she had it all

She was self-made thanks to hair products and foam
And proved that dreams can be a reality
No limitations should come from a genome.]]>164africanamerican,film,florenceprice,madamecjwalker,music,poetry,tressiesouders,usa,womenfalse13fullhttps://www.spreaker.com/episode/jessica-borthwick-with-music-by-alice-mary-smith--58413999I defied conventions of motion pictures
I went from Britain to the Adriatic Sea

The Ottoman and Balkan troops were hotspurs
I captured the war on a plate camera
Mr. Newman made it for my bold transfers

My Papa was General in Rumelia
Uncle and aunt were newspaper editors
I was a war reporter of my era

I was armed to shield myself from predators
It was not all fun and games, yet feats were swell
By chance I was brought to meet some prisoners

I also had my tripod smashed by a shell
In a Vlach town I improvised a dark room
Creating out of wool rugs a tiny cell

In Adrianople some locals would assume
I could cure cholera with my camera
But it was back home in England I would fume

When a projectionist made a disaster
He was incompetent during a lecture
I lost the case in Court to this wreck master

But joy came from the Fitzrovia Prefecture
The Scala Theatre showed my celluloid
The Arctic was next with my new conjecture

A healing colony I would have deployed
But in Spitsbergen I only hunted seals
And farmed reindeer before my dream was destroyed

The Great War arrived and firmly changed the deals
I got wounded as an ambulance worker
The Belgian Corps rewarded my ideals

I shaped my life like my toil as a sculptor
I could be Jessica Borthwick or Nell Foy
Plus I had a factory of dolls galore

Whitechapel Art Gallery showed my toy
In South Kensington pipe smoking was an art
While experimenting I was never coy

For the images on home screens I took part
Through the British Broadcasting Corporation
Showing Russian performers singing with heart.]]>https://api.spreaker.com/episode/58413999Sat, 27 Jan 2024 18:26:26 +0000Chiara Spagnoli GabardiCinematography was boundless for me I defied conventions of motion pictures I went from Britain to the Adriatic Sea The Ottoman and Balkan troops were hotspurs I captured the war on a plate camera Mr. Newman made it for my bold transfers My Papa...I defied conventions of motion pictures
I went from Britain to the Adriatic Sea

The Ottoman and Balkan troops were hotspurs
I captured the war on a plate camera
Mr. Newman made it for my bold transfers

My Papa was General in Rumelia
Uncle and aunt were newspaper editors
I was a war reporter of my era

I was armed to shield myself from predators
It was not all fun and games, yet feats were swell
By chance I was brought to meet some prisoners

I also had my tripod smashed by a shell
In a Vlach town I improvised a dark room
Creating out of wool rugs a tiny cell

In Adrianople some locals would assume
I could cure cholera with my camera
But it was back home in England I would fume

When a projectionist made a disaster
He was incompetent during a lecture
I lost the case in Court to this wreck master

But joy came from the Fitzrovia Prefecture
The Scala Theatre showed my celluloid
The Arctic was next with my new conjecture

A healing colony I would have deployed
But in Spitsbergen I only hunted seals
And farmed reindeer before my dream was destroyed

The Great War arrived and firmly changed the deals
I got wounded as an ambulance worker
The Belgian Corps rewarded my ideals

I shaped my life like my toil as a sculptor
I could be Jessica Borthwick or Nell Foy
Plus I had a factory of dolls galore

Whitechapel Art Gallery showed my toy
In South Kensington pipe smoking was an art
While experimenting I was never coy

For the images on home screens I took part
Through the British Broadcasting Corporation
Showing Russian performers singing with heart.]]>225alicemarysmith,film,greatbritain,jessicaborthwick,music,poetry,uk,womenfalse14fullhttps://www.spreaker.com/episode/elvira-notari-with-music-by-emilia-gubitosi--58414081I used that style before those male filmmakers
Some say my work was a sort of activism

First Italian female cineaste of shakers
Actress, writer, producer, distributor
I most preferred non-professional actors

My scenes portrayed the humble, mundane factor
Village festivals, iris shots, cross-fades
I also recreated deviant behaviour

Form and reverie came from the female gaze
Why should a lady settle for one suitor?
Ardent ‘sceneggiata’ drama was my craze

Neapolitan songs too, I liked to secure
Piedigrotta helped our record industry
With the film press connections I held allure

I handled posters in synchronicity
A spectator once tried to kill a villain
Those were effects of my authenticity

My modest background had a studious fill-in
As a milliner I first started working
A passion that thrived in my films deep within

As Elvira Coda I was hardworking
When I was wed to Nicola Notari
I found him ever so dearly supporting

Our film production company was glary
It was named after our sweet daughter Dora
It was really evolutionary

We built a stage set, or ‘teatro di posa’
We braved the crisis of the Giolitti Age
My spouse was the camera, I the aura

Eduardo or Gennariello on stage
Our son played the ‘scugnizzo,’ the street urchin
He even went through the ‘guaglione ‘e core’ stage

He was a good-hearted kid without a sin
I was the ‘Marescialla,’ the General
My harsh attitude allowed no underpin

True emotions made acting so empyreal
I banned glycerin for artificial tears
I had marvellous performers on my reel

Tina Pica and Capannelle for years
Dora Film also arrived in Manhattan
Gennaro Capuano was in high gears

Little Italy folks our films would demand
I felt the urge to create an Acting School
To enter the characters’ minds and expand

I was told by someone with a time capsule
That later on, child-actor Enzo Staiola
Used my cognitive method as acting tool

It was in a film about a bicycle…
Times change, and the arts succumb to politics
The return of dictators is cyclical

My strong heroines went against their optics
The Fascist Regime was for the patriarchy
I was censored and could no longer pull tricks

To them my work was absolute anarchy
Women could only be angels of the hearth
America showed my films clandestinely

Cinema was centralised to Rome
henceforth I tried to adapt to Hollywood style
Our film company perished with no rebirth

Eduardo tried Great Britain for a while
But soon returned to the Parthenopean land
With Nicola we then kept a low profile

Cava de’ Tirreni became our dreamland
Far from the horrors of the war I wondered
Will this Cinema Mamma in future stand?]]>https://api.spreaker.com/episode/58414081Sat, 27 Jan 2024 18:32:57 +0000Chiara Spagnoli GabardiI come from the country of film Neorealism I used that style before those male filmmakers Some say my work was a sort of activism First Italian female cineaste of shakers Actress, writer, producer, distributor I most preferred non-professional...I used that style before those male filmmakers
Some say my work was a sort of activism

First Italian female cineaste of shakers
Actress, writer, producer, distributor
I most preferred non-professional actors

My scenes portrayed the humble, mundane factor
Village festivals, iris shots, cross-fades
I also recreated deviant behaviour

Form and reverie came from the female gaze
Why should a lady settle for one suitor?
Ardent ‘sceneggiata’ drama was my craze

Neapolitan songs too, I liked to secure
Piedigrotta helped our record industry
With the film press connections I held allure

I handled posters in synchronicity
A spectator once tried to kill a villain
Those were effects of my authenticity

My modest background had a studious fill-in
As a milliner I first started working
A passion that thrived in my films deep within

As Elvira Coda I was hardworking
When I was wed to Nicola Notari
I found him ever so dearly supporting

Our film production company was glary
It was named after our sweet daughter Dora
It was really evolutionary

We built a stage set, or ‘teatro di posa’
We braved the crisis of the Giolitti Age
My spouse was the camera, I the aura

Eduardo or Gennariello on stage
Our son played the ‘scugnizzo,’ the street urchin
He even went through the ‘guaglione ‘e core’ stage

He was a good-hearted kid without a sin
I was the ‘Marescialla,’ the General
My harsh attitude allowed no underpin

True emotions made acting so empyreal
I banned glycerin for artificial tears
I had marvellous performers on my reel

Tina Pica and Capannelle for years
Dora Film also arrived in Manhattan
Gennaro Capuano was in high gears

Little Italy folks our films would demand
I felt the urge to create an Acting School
To enter the characters’ minds and expand

I was told by someone with a time capsule
That later on, child-actor Enzo Staiola
Used my cognitive method as acting tool

It was in a film about a bicycle…
Times change, and the arts succumb to politics
The return of dictators is cyclical

My strong heroines went against their optics
The Fascist Regime was for the patriarchy
I was censored and could no longer pull tricks

To them my work was absolute anarchy
Women could only be angels of the hearth
America showed my films clandestinely

Cinema was centralised to Rome
henceforth I tried to adapt to Hollywood style
Our film company perished with no rebirth

Eduardo tried Great Britain for a while
But soon returned to the Parthenopean land
With Nicola we then kept a low profile

Cava de’ Tirreni became our dreamland
Far from the horrors of the war I wondered
Will this Cinema Mamma in future stand?]]>305bicyclethieves,capannelle,elviranotari,emiliagubitosi,enzostaiola,film,italy,music,naples,neorealism,poetry,tinapica,womenfalse15fullhttps://www.spreaker.com/episode/luise-kolm-fleck-with-music-by-johanna-muller-hermann--58414135My home was enveloped by the mountainous zone
Do not envision me within a relais

I lived in the city were Klimt’s kiss was blown
The Hofburg, the Philarmonic and Demel
Are parts of my dear hometown that are well-known

But the Stadtpanoptikum was just as well
My father was the founder of this Kohlmarkt
Where people could see living pictures and dwell

I helped as I could, at the cashier I worked
I felt the Austro-Hungarian Monarchy
Patriotism in my films was clear, not lurked

Three men in my life, for my craft, were the key:
My brother Claudius, Anton Kolm and Jakob Fleck
We were a fine motion pictures crew, us three

All of the steps of filmmaking I would check
With Kolm and Fleck we founded Wiener Kunstfilm
I enjoyed working also at the splicing deck

We began shooting some Dokumentarfilm
In the Prater with its hustle and bustle
The foreign competition was strong in film

But our Habsburg storytelling had muscle
Our goal was shaping highbrow entertainment
We wanted our work to make noise, not rustle

Adapting literary texts was frequent
Social drama, criminal genre, comedy
Are all the styles I used to represent

Rape, abortion, impotence, with honesty
I went from Hosenrollenfilme with trousers
To motherland propaganda policy

I was the mightiest of Österreich espousers
The aftermath of World War I was a mess
The financial crisis was breeding grousers

We dissolved the company to avoid stress
My husband Anton fell ill and passed away
My bond with Jakob led to a wedding dress

I was one through my two spouses from that day
Luise Kolm-Fleck moved to Berlin to work again
Forty films were made, but success did not stay

Something happened, it was Hitler and his men
My consort was Jewish, so trouble began
His films were signed under my son Walter’s pen

But circumstances got much worse for my man:
Dachau and Buchenwald concentration camps
Friends prevented him from being a deadman

They made us flee to Shanghai with many thanks
In China our craft truly grew with Fei Mu
Yet World War II obliged us to break these ranks

Intentions of expats were a misconstrue
We left the South East with hope in our pockets
Austria’s post-war film studio had come through

We dreamt to work wonders again on film sets
The world and cinema around us had changed
However I felt blest and hold no regrets.]]>https://api.spreaker.com/episode/58414135Sat, 27 Jan 2024 18:37:21 +0000Chiara Spagnoli GabardiI came into this world as Aloisia Veltée My home was enveloped by the mountainous zone Do not envision me within a relais I lived in the city were Klimt’s kiss was blown The Hofburg, the Philarmonic and Demel Are parts of my dear hometown that are...My home was enveloped by the mountainous zone
Do not envision me within a relais

I lived in the city were Klimt’s kiss was blown
The Hofburg, the Philarmonic and Demel
Are parts of my dear hometown that are well-known

But the Stadtpanoptikum was just as well
My father was the founder of this Kohlmarkt
Where people could see living pictures and dwell

I helped as I could, at the cashier I worked
I felt the Austro-Hungarian Monarchy
Patriotism in my films was clear, not lurked

Three men in my life, for my craft, were the key:
My brother Claudius, Anton Kolm and Jakob Fleck
We were a fine motion pictures crew, us three

All of the steps of filmmaking I would check
With Kolm and Fleck we founded Wiener Kunstfilm
I enjoyed working also at the splicing deck

We began shooting some Dokumentarfilm
In the Prater with its hustle and bustle
The foreign competition was strong in film

But our Habsburg storytelling had muscle
Our goal was shaping highbrow entertainment
We wanted our work to make noise, not rustle

Adapting literary texts was frequent
Social drama, criminal genre, comedy
Are all the styles I used to represent

Rape, abortion, impotence, with honesty
I went from Hosenrollenfilme with trousers
To motherland propaganda policy

I was the mightiest of Österreich espousers
The aftermath of World War I was a mess
The financial crisis was breeding grousers

We dissolved the company to avoid stress
My husband Anton fell ill and passed away
My bond with Jakob led to a wedding dress

I was one through my two spouses from that day
Luise Kolm-Fleck moved to Berlin to work again
Forty films were made, but success did not stay

Something happened, it was Hitler and his men
My consort was Jewish, so trouble began
His films were signed under my son Walter’s pen

But circumstances got much worse for my man:
Dachau and Buchenwald concentration camps
Friends prevented him from being a deadman

They made us flee to Shanghai with many thanks
In China our craft truly grew with Fei Mu
Yet World War II obliged us to break these ranks

Intentions of expats were a misconstrue
We left the South East with hope in our pockets
Austria’s post-war film studio had come through

We dreamt to work wonders again on film sets
The world and cinema around us had changed
However I felt blest and hold no regrets.]]>235austria,buchenwald,dachau,demel,film,habsburg,hofburg,johannamüllerhermann,luisekolmfleck,music,philarmonic,poetry,womenfalse16fullhttps://www.spreaker.com/episode/lotte-reiniger-with-music-by-clara-schumann--58414203Silhouette animation was my bailiwick
Black-cut characters emerged in shadow play

I mastered how to scherenschnitte real quick
In youth I was Charlotte from Charlottenburg
At my open-air school I never got sick

Tuberculosis had recently occurred
Thus, the best therapy was sun-kissed fresh air
Hence, my inspiration took flight like a bird

Chinese shadow puppetry made me aware
Of the potential of these cut-out figures
I first longed to be an actress anywhere

My family shows were early transmitters
Of the technique I would then use for film
Georges Méliès and Paul Wegener were my mentors

My silhouette storytelling was fluidly prim
Stop-motion animation was its kindred
Working for Max Reinhardt’s stagings was no whim

Even the title-cards I made elated
The Institut für Kulturforschung then followed
By avantgardists I was fascinated

There, my relationship with Carl Koch took hold
We tied the knot and my love grew each day more
Meanwhile with my animated art I showed

Fable-like wonder and ancient myths galore
First, The Ornament Of The Enamoured Heart
That short film, other work requests would procure

I got a knack for the advertising art
I made a falcon dream sequence for Fritz Lang
Then came financier Louis Haggin’s support

He banked on my work and my praises he sang
The Adventures of Prince Achmed were much desired
This feature debut came out with a huge bang

One Thousand And One Night tales had it inspired
Enchantment was brought by Wolfgang Zeller’s score
The queer experience I fully inquired

To destigmatise homosexual amour
But distribution censored this objective
My dark shaped craft was lauded by Jean Renoir

I possessed fairy hands in his perspective
I contrived the first multi-plane camera
Planes of glass to the eyes were deceptive

My tricktisch surprises were a plethora
Walt Disney and Ub Iwerks later used them
My characters emerged through an aurora

I even ventured in the live-action realm
Our left-wing ideas made us flee Berlin
In Germany the Nazi were at the helm

We were not given visas to our chagrin
Much of the Thirties through Europe we wandered
In Greece with Karagiozis I would begin

In London GPO Film Unit I conquered
Opera influenced our work immensely
With kind Luchino Visconti we bonded

My Mama’s health made us return home swiftly
After a few years Great Britain claimed us back
Citizenship came and work with BBC

Projects came pouring in, almost without track
Telecasting America hired me too
Then my Carl left me after a heart attack

Now I felt my life had nothing left to do
When I then re-emerged from my seclusion
Three final short films I managed to pursue

Order of Merits for my contribution
I, Lotte Reiniger received with gratitude
And pondered if it was just an illusion

I peeked in the Eighties and its attitude
At this point the quiver was full of arrows
Animated films had reached their magnitude

So will my legacy stay in the shadows?
Will my paper-cut silhouettes be forgotten?
Or will they ensorcell unforeseen hallows?]]>https://api.spreaker.com/episode/58414203Sat, 27 Jan 2024 18:46:14 +0000Chiara Spagnoli GabardiI created magic with scissors, some say Silhouette animation was my bailiwick Black-cut characters emerged in shadow play I mastered how to scherenschnitte real quick In youth I was Charlotte from Charlottenburg At my open-air school I never got...Silhouette animation was my bailiwick
Black-cut characters emerged in shadow play

I mastered how to scherenschnitte real quick
In youth I was Charlotte from Charlottenburg
At my open-air school I never got sick

Tuberculosis had recently occurred
Thus, the best therapy was sun-kissed fresh air
Hence, my inspiration took flight like a bird

Chinese shadow puppetry made me aware
Of the potential of these cut-out figures
I first longed to be an actress anywhere

My family shows were early transmitters
Of the technique I would then use for film
Georges Méliès and Paul Wegener were my mentors

My silhouette storytelling was fluidly prim
Stop-motion animation was its kindred
Working for Max Reinhardt’s stagings was no whim

Even the title-cards I made elated
The Institut für Kulturforschung then followed
By avantgardists I was fascinated

There, my relationship with Carl Koch took hold
We tied the knot and my love grew each day more
Meanwhile with my animated art I showed

Fable-like wonder and ancient myths galore
First, The Ornament Of The Enamoured Heart
That short film, other work requests would procure

I got a knack for the advertising art
I made a falcon dream sequence for Fritz Lang
Then came financier Louis Haggin’s support

He banked on my work and my praises he sang
The Adventures of Prince Achmed were much desired
This feature debut came out with a huge bang

One Thousand And One Night tales had it inspired
Enchantment was brought by Wolfgang Zeller’s score
The queer experience I fully inquired

To destigmatise homosexual amour
But distribution censored this objective
My dark shaped craft was lauded by Jean Renoir

I possessed fairy hands in his perspective
I contrived the first multi-plane camera
Planes of glass to the eyes were deceptive

My tricktisch surprises were a plethora
Walt Disney and Ub Iwerks later used them
My characters emerged through an aurora

I even ventured in the live-action realm
Our left-wing ideas made us flee Berlin
In Germany the Nazi were at the helm

We were not given visas to our chagrin
Much of the Thirties through Europe we wandered
In Greece with Karagiozis I would begin

In London GPO Film Unit I conquered
Opera influenced our work immensely
With kind Luchino Visconti we bonded

My Mama’s health made us return home swiftly
After a few years Great Britain claimed us back
Citizenship came and work with BBC

Projects came pouring in, almost without track
Telecasting America hired me too
Then my Carl left me after a heart attack

Now I felt my life had nothing left to do
When I then re-emerged from my seclusion
Three final short films I managed to pursue

Order of Merits for my contribution
I, Lotte Reiniger received with gratitude
And pondered if it was just an illusion

I peeked in the Eighties and its attitude
At this point the quiver was full of arrows
Animated films had reached their magnitude

So will my legacy stay in the shadows?
Will my paper-cut silhouettes be forgotten?
Or will they ensorcell unforeseen hallows?]]>312animation,berlin,charlottenburg,claraschumann,film,fritzlang,germany,karagiozis,lottereiniger,maxreinhardt,music,poetry,womenfalse17fullhttps://www.spreaker.com/episode/germaine-dulac-with-music-by-louise-farrenc--58414270My family was of classe moyenne supérieur
We were quite close to Jules Verne’s infrastructures

Our genealogy was Saisset-Schneider
I left Amiens for Paris with my granny
Journalism I confronted with great ardeur

Writing about feminism was uncanny
For others, but it was my bread and butter
I loved covering cinematography

I was an assertive dàme, not a nutter
La Française and La Fronde were my outlets
I described women’s skills shoved in the gutter

Some things were seen unfit for the weaker sex
Practicing law or physics were just a few
Still and moving pictures were not seen as threats

It was early, the medium was still new
Stacia Napierkowska led me to this realm
I joined her in Italy with her film crew

Her act for the camera could overwhelm
I was so conquered by this creative form
Of my own studio I was at the helm

Irène Hillel-Erlanger wrote scripts in norm
Our D.H. Films company had the support
Of my apt husband who worked in land reform

Louis-Albert Dulac my art did escort
And held no contempt when our marriage ended
My style wanted to be a means of transport

For the mind to fluctuate when suspended
La Souriante Madame Beudet allowed me
To explore beyond what was comprehended

It was seen as the first sisterhood movie
A woman sought escape from a grim wedlock
I applied Impressionism, it was groovy

My Surrealist touch was defined poppycock
La Coquille et le Clergyman was the film
That was inspired by Antonin Artaud’s work

But the use of this expression in cine-film
Credited the men of Un chien andalou
It was a sensory trip on micro-film

My work was received with a boisterous boo
I was no Luis Buñuel or Salvador Dalí
I was called ‘vache’ for my anti-sexist point of view

It did not block me, after all c’est la vie
Cinema affected me in many ways
Germaine Dulac was still my identity

After divorce I moved away from clichés
Marie-Anne Colson-Malleville I loved
Our romance was meant for the rest of our days

Two spouses were destined to my beloved
Our liaison was way more profound than these ties
My professional progress she never shoved

Artsy or mainstream I made no compromise
Cinéma pur was my first and foremost mission
Above literature and stage it would rise

Emotion and abstraction was my vision
Using dolly shots and lens distortions too
And dynamic cutting to cause elision

The sequential Kuleshov effect I knew
The flow of apperception was my focus
From Charles Baudelaire inspiration I drew

Invitation au voyage was no bogus
I was freeing my Dada vitality
Helping young talents was my magnum opus

The Fédération des ciné-clubs I would oversee
I taught courses at the École Technique
I received the Légion d’Honneur with utmost glee

Sound film did not agree at all with my streak
So I plunged in Pathé and Gaumont newsreels
Howbeit I feel my craft will thrive as unique.]]>https://api.spreaker.com/episode/58414270Sat, 27 Jan 2024 18:52:25 +0000Chiara Spagnoli GabardiI was a critic before I made my pictures My family was of classe moyenne supérieur We were quite close to Jules Verne’s infrastructures Our genealogy was Saisset-Schneider I left Amiens for Paris with my granny Journalism I confronted with great...My family was of classe moyenne supérieur
We were quite close to Jules Verne’s infrastructures

Our genealogy was Saisset-Schneider
I left Amiens for Paris with my granny
Journalism I confronted with great ardeur

Writing about feminism was uncanny
For others, but it was my bread and butter
I loved covering cinematography

I was an assertive dàme, not a nutter
La Française and La Fronde were my outlets
I described women’s skills shoved in the gutter

Some things were seen unfit for the weaker sex
Practicing law or physics were just a few
Still and moving pictures were not seen as threats

It was early, the medium was still new
Stacia Napierkowska led me to this realm
I joined her in Italy with her film crew

Her act for the camera could overwhelm
I was so conquered by this creative form
Of my own studio I was at the helm

Irène Hillel-Erlanger wrote scripts in norm
Our D.H. Films company had the support
Of my apt husband who worked in land reform

Louis-Albert Dulac my art did escort
And held no contempt when our marriage ended
My style wanted to be a means of transport

For the mind to fluctuate when suspended
La Souriante Madame Beudet allowed me
To explore beyond what was comprehended

It was seen as the first sisterhood movie
A woman sought escape from a grim wedlock
I applied Impressionism, it was groovy

My Surrealist touch was defined poppycock
La Coquille et le Clergyman was the film
That was inspired by Antonin Artaud’s work

But the use of this expression in cine-film
Credited the men of Un chien andalou
It was a sensory trip on micro-film

My work was received with a boisterous boo
I was no Luis Buñuel or Salvador Dalí
I was called ‘vache’ for my anti-sexist point of view

It did not block me, after all c’est la vie
Cinema affected me in many ways
Germaine Dulac was still my identity

After divorce I moved away from clichés
Marie-Anne Colson-Malleville I loved
Our romance was meant for the rest of our days

Two spouses were destined to my beloved
Our liaison was way more profound than these ties
My professional progress she never shoved

Artsy or mainstream I made no compromise
Cinéma pur was my first and foremost mission
Above literature and stage it would rise

Emotion and abstraction was my vision
Using dolly shots and lens distortions too
And dynamic cutting to cause elision

The sequential Kuleshov effect I knew
The flow of apperception was my focus
From Charles Baudelaire inspiration I drew

Invitation au voyage was no bogus
I was freeing my Dada vitality
Helping young talents was my magnum opus

The Fédération des ciné-clubs I would oversee
I taught courses at the École Technique
I received the Légion d’Honneur with utmost glee

Sound film did not agree at all with my streak
So I plunged in Pathé and Gaumont newsreels
Howbeit I feel my craft will thrive as unique.]]>289film,france,germainedulac,louisefarrenc,luisbuñuel,music,poetry,salvadordalí,surrealism,womenfalse18fullhttps://www.spreaker.com/episode/adrienne-solser-with-music-by-henriette-bosmans--58421450My family worked in the theatre always
I sang and performed from a very young age

I was quite determined, never in a daze
The Netherlands was my place of expression
My life was articulate in many ways

Three husbands, some kids, and show-biz accession
I even lived in Pretoria for a time
I enjoyed an effective working session

Eureka, the movie company, was mine
My son André was at the head of management
Lien, my daughter, any task she could align

My films were all about Bet, the corpulent
She was bossy with her henpecked husband Hein
Their physical imbalance caused amusement

It could be compared to the Nursery Rhyme
Where Jack ate no fat and his wife ate no lean
The comedic buildup was utterly prime

Since betwixt them both they licked the platter clean
My screen character debuted in variétée
She made people laugh in every vaudeville scene

Thus, I brought my Jordaan-genre to the ciné
It mocked some locals from the Dutch Capital
It was about the Jordaan neighborhood cliché

My acting style was somehow biographical
It was a tribute to Lion, my brother
He took his own life and it was tragical

Art can transform pain into something other
The Adriënne Solser hallmark was social farce
Constructive satire I would never smother

My live-act in synch with the screen was a force
I adored the multidisciplinary
My fiction had a pragmatical discourse

My method was close to documentary
Since I was often shooting on location
In the midst, life’s joys were transitionary

On one end I got my standing ovation
On the other I lost my son suddenly
Pneumonia hit him and left no salvation

My grief made me plunge into work entirely
In my film, Bet trained for the Olympic Game
It was in 1928 precisely

That my city, Amsterdam, hosted the flame
Women were allowed to join for the first time
I was at the height of my success and fame

Later on, my jubilee was so sublime
For my sixty years in the performing arts
I felt swept away by my own pantomime

It was 1943 in fits and starts
But later that year I was pushed off a train
It was like being tossed from some high ramparts

I went to hospital for a femur sprain
Doetinchem is where I was stationed to mend
Alas, how I longed for a glass of champagne.]]>https://api.spreaker.com/episode/58421450Sat, 27 Jan 2024 18:57:59 +0000Chiara Spagnoli GabardiI was born in a revue company stage My family worked in the theatre always I sang and performed from a very young age I was quite determined, never in a daze The Netherlands was my place of expression My life was articulate in many ways Three...My family worked in the theatre always
I sang and performed from a very young age

I was quite determined, never in a daze
The Netherlands was my place of expression
My life was articulate in many ways

Three husbands, some kids, and show-biz accession
I even lived in Pretoria for a time
I enjoyed an effective working session

Eureka, the movie company, was mine
My son André was at the head of management
Lien, my daughter, any task she could align

My films were all about Bet, the corpulent
She was bossy with her henpecked husband Hein
Their physical imbalance caused amusement

It could be compared to the Nursery Rhyme
Where Jack ate no fat and his wife ate no lean
The comedic buildup was utterly prime

Since betwixt them both they licked the platter clean
My screen character debuted in variétée
She made people laugh in every vaudeville scene

Thus, I brought my Jordaan-genre to the ciné
It mocked some locals from the Dutch Capital
It was about the Jordaan neighborhood cliché

My acting style was somehow biographical
It was a tribute to Lion, my brother
He took his own life and it was tragical

Art can transform pain into something other
The Adriënne Solser hallmark was social farce
Constructive satire I would never smother

My live-act in synch with the screen was a force
I adored the multidisciplinary
My fiction had a pragmatical discourse

My method was close to documentary
Since I was often shooting on location
In the midst, life’s joys were transitionary

On one end I got my standing ovation
On the other I lost my son suddenly
Pneumonia hit him and left no salvation

My grief made me plunge into work entirely
In my film, Bet trained for the Olympic Game
It was in 1928 precisely

That my city, Amsterdam, hosted the flame
Women were allowed to join for the first time
I was at the height of my success and fame

Later on, my jubilee was so sublime
For my sixty years in the performing arts
I felt swept away by my own pantomime

It was 1943 in fits and starts
But later that year I was pushed off a train
It was like being tossed from some high ramparts

I went to hospital for a femur sprain
Doetinchem is where I was stationed to mend
Alas, how I longed for a glass of champagne.]]>280adriënnesolser,film,henriëttebosmans,jordaan,music,netherlands,poetry,womenfalse19fullhttps://www.spreaker.com/episode/olga-preobrazhenskaya-with-music-by-nina-makarova--58421703And became its first female director
My art was declined by various creations

The passion for acting at first was greater
I tread on several stages as a thespian
I studied at the Moscow Art Theatre

My repertoire covered all that was Russian
The Keys To Happiness was my screen debut
My directorial shift triggered discussion

In 1916 I had a big breakthrough
My film was praised, unlike my identity
My name: masculinised in every review

Yet I continued my path incessantly
I directed fourteen films and went beyond
Academia was another specialty

My support towards newcomers was headstrong
Also through the Gerasimov Institute
I, Olga Preobrazhenskaya, always stood strong

I was tackling a medium that was mute
My plight was shared by a brilliant sisterhood
That could write, perform, edit and of course, shoot

It was a mission, not just a livelihood
Esfir Shub I admired considerably
Her montage of archival reel was so good

In The Fall Of The Romanov Dynasty
Facts were everything, fiction she would withhold
Her work was a visual book of history

Aleksandra Khokhlova was also bold
The intelligentsia came from family
But her artistic path she alone controlled

She did not succumb to wicked calumny
She was told she did not have the looks to act
So she took control of filming skillfully

Margarita Barskaya made a huge impact
Of both silent films and talkies she took hold
Whilst the Brumberg Sisters had properly tracked

The new animation technique to behold
We were Russian female filmmakers
Trying to leave a solid mark in the world

We were dreamy artists, not mischief-makers
Thus, I was granted the title of Honour
I was approved by the policy-makers

I was a step away from the embalmer
Will recognition come for all at ninety?
Good Luck Soviet Female cinema d’auteur!]]>https://api.spreaker.com/episode/58421703Sat, 27 Jan 2024 19:05:00 +0000Chiara Spagnoli GabardiI shaped my craft in the coldest of nations And became its first female director My art was declined by various creations The passion for acting at first was greater I tread on several stages as a thespian I studied at the Moscow Art Theatre My...And became its first female director
My art was declined by various creations

The passion for acting at first was greater
I tread on several stages as a thespian
I studied at the Moscow Art Theatre

My repertoire covered all that was Russian
The Keys To Happiness was my screen debut
My directorial shift triggered discussion

In 1916 I had a big breakthrough
My film was praised, unlike my identity
My name: masculinised in every review

Yet I continued my path incessantly
I directed fourteen films and went beyond
Academia was another specialty

My support towards newcomers was headstrong
Also through the Gerasimov Institute
I, Olga Preobrazhenskaya, always stood strong

I was tackling a medium that was mute
My plight was shared by a brilliant sisterhood
That could write, perform, edit and of course, shoot

It was a mission, not just a livelihood
Esfir Shub I admired considerably
Her montage of archival reel was so good

In The Fall Of The Romanov Dynasty
Facts were everything, fiction she would withhold
Her work was a visual book of history

Aleksandra Khokhlova was also bold
The intelligentsia came from family
But her artistic path she alone controlled

She did not succumb to wicked calumny
She was told she did not have the looks to act
So she took control of filming skillfully

Margarita Barskaya made a huge impact
Of both silent films and talkies she took hold
Whilst the Brumberg Sisters had properly tracked

The new animation technique to behold
We were Russian female filmmakers
Trying to leave a solid mark in the world

We were dreamy artists, not mischief-makers
Thus, I was granted the title of Honour
I was approved by the policy-makers

I was a step away from the embalmer
Will recognition come for all at ninety?
Good Luck Soviet Female cinema d’auteur!]]>220aleksandrakhokhlova,brumbergsisters,esfirshub,film,margaritabarskaya,music,ninamakarova,olgapreobrazhenskaya,poetry,russia,womenfalse110fullhttps://www.spreaker.com/episode/nina-niovilla-with-music-by-maria-szymanowska--58421735I chose to diminutise Antonina
I was Nina Niovilla for history

In my country I was a film tsarina
The press named me the ‘Polish Germaine Dulac’
Translating plays was my starting arena

The Weimar Republic was still on full track
When I had my directorial film debut
My early works patriotism would unpack

In one I showed the Battle of Lemberg coup
I further used a ballad by Mickiewicz
Even the cabaret-act I would pursue

The Qui Pro Quo was the main cultural bridge
For Warsaw in the Interwar period
At that time film critics were hard to bewitch

Stefania Zahorska disliked a myriad
Of pictures, if not the entire medium
She saw it as histrionic material

She equated film to the music idiom
Supporting the new photogénie theory
Press aside, I found my equilibrium

With Youth Triumphs I explored romantic fury
It eventually became my last work
I was developing another glory

On In the Claws of Jackals I did embark
But the project never saw the light of day
To write, direct, act and produce was my mark

I created film schools but it caused dismay
Jan Czesław Sikorowicz, my employee
Was prosecuted for asking extra pay

It was a fraud addressed to students and me
I testified in court, I was just as scammed
After the case was closed, I had to break free

From the chatter that followed, that I hadn’t planned
I wanted to abandon the public eye
My filmmaking schools closed on the other hand

I returned to translating plays, I was shy
I now escaped the limelight and moved away
To Poland I ultimately said good-bye

My daughter was in France, with her I would stay
I was fond of Paris’ Épinettes neighbourhood
Where the Groupe des Batignolles would spend the day

In this place I finally felt understood
At Café Guerbois I had my reveries
Seeing myself as the Impressionists would.]]>https://api.spreaker.com/episode/58421735Sat, 27 Jan 2024 19:11:16 +0000Chiara Spagnoli GabardiMy surname has always been a mystery I chose to diminutise Antonina I was Nina Niovilla for history In my country I was a film tsarina The press named me the ‘Polish Germaine Dulac’ Translating plays was my starting arena The Weimar Republic was...I chose to diminutise Antonina
I was Nina Niovilla for history

In my country I was a film tsarina
The press named me the ‘Polish Germaine Dulac’
Translating plays was my starting arena

The Weimar Republic was still on full track
When I had my directorial film debut
My early works patriotism would unpack

In one I showed the Battle of Lemberg coup
I further used a ballad by Mickiewicz
Even the cabaret-act I would pursue

The Qui Pro Quo was the main cultural bridge
For Warsaw in the Interwar period
At that time film critics were hard to bewitch

Stefania Zahorska disliked a myriad
Of pictures, if not the entire medium
She saw it as histrionic material

She equated film to the music idiom
Supporting the new photogénie theory
Press aside, I found my equilibrium

With Youth Triumphs I explored romantic fury
It eventually became my last work
I was developing another glory

On In the Claws of Jackals I did embark
But the project never saw the light of day
To write, direct, act and produce was my mark

I created film schools but it caused dismay
Jan Czesław Sikorowicz, my employee
Was prosecuted for asking extra pay

It was a fraud addressed to students and me
I testified in court, I was just as scammed
After the case was closed, I had to break free

From the chatter that followed, that I hadn’t planned
I wanted to abandon the public eye
My filmmaking schools closed on the other hand

I returned to translating plays, I was shy
I now escaped the limelight and moved away
To Poland I ultimately said good-bye

My daughter was in France, with her I would stay
I was fond of Paris’ Épinettes neighbourhood
Where the Groupe des Batignolles would spend the day

In this place I finally felt understood
At Café Guerbois I had my reveries
Seeing myself as the Impressionists would.]]>247film,mariaszymanowska,music,ninaniovilla,poetry,poland,womenfalse111fullhttps://www.spreaker.com/episode/ebba-lindkvist-with-music-by-elfrida-andree--58421771From the silent era of motion pictures
Not my name comes to mind at first, but others

The work of Anna Hofman-Uddgren flickers
And the one of Karin Swanström emerges too
I was the pioneer amongst these figures

In 1910 a classic I would renew
Värmlänningarna is a rooted story
Born from Fredrik August Dahlgren’s point of view

That screen-adaptation was my sole glory
I acted and directed The Warmlanders
My career was brief, I was transitory

I had a partner to share all my wonders
I did not lean on my spouse for my creations
With Viktor we were theatre constructors

We managed plays in multiple occasions
My husband suffered from an impaired vision
I chose the observable presentations

Good work and family were our mission
We had three kids and several productions
My producer, Frans Lundberg, had ambition

Through him, my work had a few reconstructions
The stage recordings of songs were inserted
In my feature that had other projections

It was so rewarding to be supported
It was meaningful for a tinsmith’s daughter
Who had seen union meetings be exerted

Of the four siblings I was the explorer
Our surname was big for Swedish filmmaking
It was Bergman, which would resonate later

I was blessed with instructors of high-rating
Bertha Tammelin shaped speech pedagogy
That I taught to children while entertaining

I also joined Emil Hillberg for training
His Sydsvenska Skådebanan was neoteric
But learning theatre on tour was straining

I and other eight failed the Academic
Who left us in Malmö, yet there was a perk
I discovered the Skåne region aesthetic

Where I decided to settle down and work
A fortuneteller told me of my link here
An award named after me, it was no quirk

Within a film festival it would appear
Attesting Ebba Lindkvist’s accomplishments
That were long-forgotten, as all my career

We moved with the approach of the regiments
We joined our dear son in Växjö during World War II
But I’m forever part of these settlements

And of the star-crossed lovers’ tale people knew
Retold by Swedish theatre and my film
That lead many storytellers to break through.]]>https://api.spreaker.com/episode/58421771Sat, 27 Jan 2024 19:17:07 +0000Chiara Spagnoli GabardiWhen you mention female Swedish directors From the silent era of motion pictures Not my name comes to mind at first, but others The work of Anna Hofman-Uddgren flickers And the one of Karin Swanström emerges too I was the pioneer amongst these...From the silent era of motion pictures
Not my name comes to mind at first, but others

The work of Anna Hofman-Uddgren flickers
And the one of Karin Swanström emerges too
I was the pioneer amongst these figures

In 1910 a classic I would renew
Värmlänningarna is a rooted story
Born from Fredrik August Dahlgren’s point of view

That screen-adaptation was my sole glory
I acted and directed The Warmlanders
My career was brief, I was transitory

I had a partner to share all my wonders
I did not lean on my spouse for my creations
With Viktor we were theatre constructors

We managed plays in multiple occasions
My husband suffered from an impaired vision
I chose the observable presentations

Good work and family were our mission
We had three kids and several productions
My producer, Frans Lundberg, had ambition

Through him, my work had a few reconstructions
The stage recordings of songs were inserted
In my feature that had other projections

It was so rewarding to be supported
It was meaningful for a tinsmith’s daughter
Who had seen union meetings be exerted

Of the four siblings I was the explorer
Our surname was big for Swedish filmmaking
It was Bergman, which would resonate later

I was blessed with instructors of high-rating
Bertha Tammelin shaped speech pedagogy
That I taught to children while entertaining

I also joined Emil Hillberg for training
His Sydsvenska Skådebanan was neoteric
But learning theatre on tour was straining

I and other eight failed the Academic
Who left us in Malmö, yet there was a perk
I discovered the Skåne region aesthetic

Where I decided to settle down and work
A fortuneteller told me of my link here
An award named after me, it was no quirk

Within a film festival it would appear
Attesting Ebba Lindkvist’s accomplishments
That were long-forgotten, as all my career

We moved with the approach of the regiments
We joined our dear son in Växjö during World War II
But I’m forever part of these settlements

And of the star-crossed lovers’ tale people knew
Retold by Swedish theatre and my film
That lead many storytellers to break through.]]>284annahofmanuddgren,ebbalindkvist,elfridaandrée,emilhillberg,film,fredrikaugustdahlgren,karinswanström,malmö,music,poetry,skåne,sweden,värmlänningarna,womenfalse112fullhttps://www.spreaker.com/episode/helena-cortesina-with-music-by-rosa-garcia-ascot--58421808My family background was all artistic
Therefore performing on stage is what I chose

With my two dear sisters I was altruistic
The Hermanas Cortesina were a force
We were a team, never antagonistic

Isadora Duncan influenced my course
Showing my semi-nude body wrapped by veils
The crowds my sculpted silhouette would endorse

The Venus Valenciana made ticket sales
I modeled for an illustrious painter
Joaquín Sorolla recreated my details

As the Danzarinas Griegas sustainer
I also posed for Gerardo de Alvear
I was seen as a modern entertainer

My shift to onscreen acting made me a star
The press found my expressiveness lovely
Filmmaking was an artistic reservoir

I founded my movie company promptly
Flor de España I wrote and directed
The narrative was acclaimed nationally

Panderetesca culture it projected
Matador Juncales loved a sweet florist
Who became a dancer and was respected

There was a mis-credit with the scenarist
José María Granada did not write the script
I penned it all and was the panegyrist

Helena Cortesina was well-equipped
But that was the only film I directed
My true love was the theatre, to which I gripped

The Great Cortesina Company would spread
All around Europe with our performances
I met Manuel Fontanals, who I didn’t wed

Yet for fifteen years, with two kids, I was his
I admired Generation ‘27
And became friends with its members in a whiz

Mingling with poets was manna from heaven
Federico García Lorca I adored
Acting for him took me up to eleven

Bereavement in the family left me floored
My daughter’s demise, then my separation
Politics is where my energy was poured

With my son we were forced to leave the nation
The Antifascist Intellectual group
I joined for the sake of culture salvation

Argentina was the place for our recoup
We arrived in Buenos Aires on a ship
I immediately joined a new stage troupe

I consolidated my relationship
With the stage, far from the Spanish Civil War
Making progress with my thespian fellowship.]]>https://api.spreaker.com/episode/58421808Sat, 27 Jan 2024 19:22:07 +0000Chiara Spagnoli GabardiI started dancing in variety shows My family background was all artistic Therefore performing on stage is what I chose With my two dear sisters I was altruistic The Hermanas Cortesina were a force We were a team, never antagonistic Isadora Duncan...My family background was all artistic
Therefore performing on stage is what I chose

With my two dear sisters I was altruistic
The Hermanas Cortesina were a force
We were a team, never antagonistic

Isadora Duncan influenced my course
Showing my semi-nude body wrapped by veils
The crowds my sculpted silhouette would endorse

The Venus Valenciana made ticket sales
I modeled for an illustrious painter
Joaquín Sorolla recreated my details

As the Danzarinas Griegas sustainer
I also posed for Gerardo de Alvear
I was seen as a modern entertainer

My shift to onscreen acting made me a star
The press found my expressiveness lovely
Filmmaking was an artistic reservoir

I founded my movie company promptly
Flor de España I wrote and directed
The narrative was acclaimed nationally

Panderetesca culture it projected
Matador Juncales loved a sweet florist
Who became a dancer and was respected

There was a mis-credit with the scenarist
José María Granada did not write the script
I penned it all and was the panegyrist

Helena Cortesina was well-equipped
But that was the only film I directed
My true love was the theatre, to which I gripped

The Great Cortesina Company would spread
All around Europe with our performances
I met Manuel Fontanals, who I didn’t wed

Yet for fifteen years, with two kids, I was his
I admired Generation ‘27
And became friends with its members in a whiz

Mingling with poets was manna from heaven
Federico García Lorca I adored
Acting for him took me up to eleven

Bereavement in the family left me floored
My daughter’s demise, then my separation
Politics is where my energy was poured

With my son we were forced to leave the nation
The Antifascist Intellectual group
I joined for the sake of culture salvation

Argentina was the place for our recoup
We arrived in Buenos Aires on a ship
I immediately joined a new stage troupe

I consolidated my relationship
With the stage, far from the Spanish Civil War
Making progress with my thespian fellowship.]]>259buenosaires,danzarinasgriegas,federicogarcíalorca,film,gerardodealvear,helenacortesina,isadoraduncan,joaquínsorolla,music,poetry,rosagarcíaascot,spain,venusvalenciana,womenfalse113fullhttps://www.spreaker.com/episode/mimi-derba-with-music-by-maria-grever--58440967Yet the name that made me known was another
Being Mimí Derba was the cause of my mirth

It was inspired by a vigorous other
Someone compared me to this energy drink
It was fitting for all, even my mother

I always felt different and at the brink
I found the frivolous theatre profound
Sharing social criticism without a blink

Thus, acting in these plays took me off the ground
I started as a Zarzuela performer
El congreso feminista would dumfound

Our thespian company was a reformer
From Mexico we went to Cuba and back
I felt so accomplished as a transformer

Alfonso Camín’s poem was about my knack
When I wore a skin-coloured jumpsuit on stage
Giving wave to a very shocking feedback

I then embraced the silent cinema age
Above all I loved to be an activist
I founded the actor’s union for fair wage

It caused me some job loss but I did resist
Azteca Films was the movie company
That Enrique Rosas and I would assist

Our cinematic quest began wondrously
In 1917 we produced five films
But the Spanish pandemic changed things quickly

I was a resolute woman with no frills
I went to New York looking for a buyer
For our studio we lacked the selling skills

With Enrique we decided to retire
Azteca Films was over, but I was not
My creative impetus was still on fire

When in trouble I was accustomed to trot
I had written about Huerta’s suppression
As well as Maderismo’s rebellious lot

False gossip tried to sully my profession
Claiming a romance with Pablo González
During Carranza’s presidential session

I saw many political mirages
Cosmopolitan nationalism was one
With Porfiriato mixing with sagas

Some literary movements had just begun
Like Indigenismo that sparked a debate
Investment in our film industry was none

I tried to present a project to the State
To give it national funds like other arts
But my idea was not welcomed as great

I married Raúl de Anda, my ace of hearts
A soldier who courted me relentlessly
Our union did not last long in the love charts

My onscreen acting career grew quite quickly
Working in talkies with legends of my time
I had the chance to try radio swiftly

Television too, which felt like pantomime
I did traverse the age of sound broadcasting
But I was a silent lady in my prime

Through La Tigresa I was everlasting
The first female director in my nation
I showed how to be both gentle and blasting.]]>https://api.spreaker.com/episode/58440967Sat, 27 Jan 2024 19:27:35 +0000Chiara Spagnoli GabardiHerminia Pérez de León was by birth Yet the name that made me known was another Being Mimí Derba was the cause of my mirth It was inspired by a vigorous other Someone compared me to this energy drink It was fitting for all, even my mother I always...Yet the name that made me known was another
Being Mimí Derba was the cause of my mirth

It was inspired by a vigorous other
Someone compared me to this energy drink
It was fitting for all, even my mother

I always felt different and at the brink
I found the frivolous theatre profound
Sharing social criticism without a blink

Thus, acting in these plays took me off the ground
I started as a Zarzuela performer
El congreso feminista would dumfound

Our thespian company was a reformer
From Mexico we went to Cuba and back
I felt so accomplished as a transformer

Alfonso Camín’s poem was about my knack
When I wore a skin-coloured jumpsuit on stage
Giving wave to a very shocking feedback

I then embraced the silent cinema age
Above all I loved to be an activist
I founded the actor’s union for fair wage

It caused me some job loss but I did resist
Azteca Films was the movie company
That Enrique Rosas and I would assist

Our cinematic quest began wondrously
In 1917 we produced five films
But the Spanish pandemic changed things quickly

I was a resolute woman with no frills
I went to New York looking for a buyer
For our studio we lacked the selling skills

With Enrique we decided to retire
Azteca Films was over, but I was not
My creative impetus was still on fire

When in trouble I was accustomed to trot
I had written about Huerta’s suppression
As well as Maderismo’s rebellious lot

False gossip tried to sully my profession
Claiming a romance with Pablo González
During Carranza’s presidential session

I saw many political mirages
Cosmopolitan nationalism was one
With Porfiriato mixing with sagas

Some literary movements had just begun
Like Indigenismo that sparked a debate
Investment in our film industry was none

I tried to present a project to the State
To give it national funds like other arts
But my idea was not welcomed as great

I married Raúl de Anda, my ace of hearts
A soldier who courted me relentlessly
Our union did not last long in the love charts

My onscreen acting career grew quite quickly
Working in talkies with legends of my time
I had the chance to try radio swiftly

Television too, which felt like pantomime
I did traverse the age of sound broadcasting
But I was a silent lady in my prime

Through La Tigresa I was everlasting
The first female director in my nation
I showed how to be both gentle and blasting.]]>290film,maríagrever,mexico,mimíderba,music,poetry,women,zarzuelafalse114fullhttps://www.spreaker.com/episode/gabriela-von-bussenius-vega-with-music-by-carmela-mackenna--58440988I was the first Chilean female director
Through time this role turned into a phantom limb

In fact, I became a prolific writer
The picture show is where I moved my first steps
I then was journalist, playwright and author

The one movie I directed was complex
I also wrote the script, whilst my husband helped
With photography and editing effects

Salvador Giambastiani in Chile dwelt
My dear spouse was an Italian immigrant
His love for South America was heartfelt

With him, the Chile Film Co I would implant
Also Guillermo Bidwell joined our project
As well as Luis Larraín, who would enchant

These men on my directorial work leapt
The Agony of Arauco had their aid
The film on the Mapuche people would reflect

Colonists and indigenous I displayed
El Diario Ilustrado praised me
My interest behind the camera swayed

Thus, I worked with my consort anonymously
His sudden death made me part from filmmaking
I embarked upon a lovely writing spree

I hope my name one day will be inspiring
Gabriela von Bussenius Vega
The woman who encouraged to be daring.]]>https://api.spreaker.com/episode/58440988Sat, 27 Jan 2024 19:30:34 +0000Chiara Spagnoli GabardiI was just seventeen when I made my film I was the first Chilean female director Through time this role turned into a phantom limb In fact, I became a prolific writer The picture show is where I moved my first steps I then was journalist, playwright...I was the first Chilean female director
Through time this role turned into a phantom limb

In fact, I became a prolific writer
The picture show is where I moved my first steps
I then was journalist, playwright and author

The one movie I directed was complex
I also wrote the script, whilst my husband helped
With photography and editing effects

Salvador Giambastiani in Chile dwelt
My dear spouse was an Italian immigrant
His love for South America was heartfelt

With him, the Chile Film Co I would implant
Also Guillermo Bidwell joined our project
As well as Luis Larraín, who would enchant

These men on my directorial work leapt
The Agony of Arauco had their aid
The film on the Mapuche people would reflect

Colonists and indigenous I displayed
El Diario Ilustrado praised me
My interest behind the camera swayed

Thus, I worked with my consort anonymously
His sudden death made me part from filmmaking
I embarked upon a lovely writing spree

I hope my name one day will be inspiring
Gabriela von Bussenius Vega
The woman who encouraged to be daring.]]>147carmelamackenna,chile,film,gabrielavonbusseniusvega,music,poetry,womenfalse115fullhttps://www.spreaker.com/episode/cleo-de-verberena-with-music-by-chiquinha-gonzaga--58441016That is who I was, am and will always be
I was overtly driven by my strong will

I debuted behind the camera with glee
My film O Mistério do Dominó Preto
Was a silent picture and not a talkie

A sound-movie had been done here, I do know
Acabaram-se os Otários was it
A couple of years prior to my film-show

First I was a small-town girl, not a misfit
Born Jacyra Martins da Silveira
I left Amparo for São Paulo, with grit

My aspirations were not at all bourgeois
I was charmed by the progressive Capital
Bookshops, theatres, ateliers, the cinema

The elite encouraged the industrial
Like Greta Garbo I wanted to perform
Erich von Stroheim’s style was so natural

Fred Niblo too, inspired my creative storm
I found a man who fully shared my vision
Cesar Melani was truly multiform

My love was the son of a fazendeiro
He studied medicine, but film was his path
I shared this calling with my cavaleiro

Our wedding gift was a tool to videograph
Our son, Cesar Augusto overjoyed us
His exuberance would always make us laugh

Épica Films was our cinematic compass
My husband and I chose stage names for our craft
Cleo de Verberena was my alias

Laes Mac Reni was his anagram at last
An inheritance morphed in our company
For some time our style of living was a blast

With ViaLáctea I worked on stage merrily
Our family moved to Rio for business
I met Carmen Santos, who was so lovely

But my cinema projects made no progress
Melodia da Saudade was never made
I was planning to film with audio to impress

I truly thought investors I could persuade
But I was confined to my silent picture
United States movies were preferred for trade

Something worse happened in my own life Scripture
Our boy’s tenth birthday turned into a tragedy
My consort died, the pain I could not endure

Filmmaking ended for me eternally
It took some years for me to marry again
I changed all of my objectives purposely

I left the past behind me, by being zen
Francisco Landestoy Saint Jean was consul
In Liverpool, I often made roast chicken

In Santiago, my chorrillana would rule
Widowhood would strike again mercilessly
But my son and daughter-in-law were my fuel

Three more men involved me sentimentally
They were Rodolfo, Ricardo, Roberto
My grandchildren engaged me vivaciously

They ignored I once was a film esperto
First female Portuguese-speaking director
The future should grant my kind a concerto.]]>https://api.spreaker.com/episode/58441016Sat, 27 Jan 2024 19:35:14 +0000Chiara Spagnoli GabardiPrimeira mulher cineasta do Brasil That is who I was, am and will always be I was overtly driven by my strong will I debuted behind the camera with glee My film O Mistério do Dominó Preto Was a silent picture and not a talkie A sound-movie had been...That is who I was, am and will always be
I was overtly driven by my strong will

I debuted behind the camera with glee
My film O Mistério do Dominó Preto
Was a silent picture and not a talkie

A sound-movie had been done here, I do know
Acabaram-se os Otários was it
A couple of years prior to my film-show

First I was a small-town girl, not a misfit
Born Jacyra Martins da Silveira
I left Amparo for São Paulo, with grit

My aspirations were not at all bourgeois
I was charmed by the progressive Capital
Bookshops, theatres, ateliers, the cinema

The elite encouraged the industrial
Like Greta Garbo I wanted to perform
Erich von Stroheim’s style was so natural

Fred Niblo too, inspired my creative storm
I found a man who fully shared my vision
Cesar Melani was truly multiform

My love was the son of a fazendeiro
He studied medicine, but film was his path
I shared this calling with my cavaleiro

Our wedding gift was a tool to videograph
Our son, Cesar Augusto overjoyed us
His exuberance would always make us laugh

Épica Films was our cinematic compass
My husband and I chose stage names for our craft
Cleo de Verberena was my alias

Laes Mac Reni was his anagram at last
An inheritance morphed in our company
For some time our style of living was a blast

With ViaLáctea I worked on stage merrily
Our family moved to Rio for business
I met Carmen Santos, who was so lovely

But my cinema projects made no progress
Melodia da Saudade was never made
I was planning to film with audio to impress

I truly thought investors I could persuade
But I was confined to my silent picture
United States movies were preferred for trade

Something worse happened in my own life Scripture
Our boy’s tenth birthday turned into a tragedy
My consort died, the pain I could not endure

Filmmaking ended for me eternally
It took some years for me to marry again
I changed all of my objectives purposely

I left the past behind me, by being zen
Francisco Landestoy Saint Jean was consul
In Liverpool, I often made roast chicken

In Santiago, my chorrillana would rule
Widowhood would strike again mercilessly
But my son and daughter-in-law were my fuel

Three more men involved me sentimentally
They were Rodolfo, Ricardo, Roberto
My grandchildren engaged me vivaciously

They ignored I once was a film esperto
First female Portuguese-speaking director
The future should grant my kind a concerto.]]>243brazil,chiquinhagonzaga,cleodeverberena,erichvonstroheim,film,fredniblo,gretagarbo,music,poetry,portuguese,womenfalse116fullhttps://www.spreaker.com/episode/paulette-mcdonagh-with-music-by-mirrie-hill--58441107The Emerald City is where I was born
I was considered as a child of wonder

My artistic aptitude was not timeworn
In the suburb of Drummoyne I grew with bliss
Third of seven kids, I was never forlorn

With my family, plays I would never miss
Dad was surgeon for the theatre circle
Attending weekly soirées I reminisce

Aussie motion pictures became my portal
I formed a trio with two of my sisters
Phyllis as publisher promoted sparkle

Isabel was the actress with no glitters
Marie Lorraine is the stage name she would use
In my life and work these two were my pillars

I, the youngest, would write, direct and produce
Our home served as a natural set to start
The antique furniture looked fancy and spruce

When father passed away it all fell apart
Mama turned the house into a nursing home
Soon after she left us alone with our art

Cinema stirred in me the Stendhal Syndrome
Directing Those Who Love was unexpected
I adored the realm of flickering bichrome

My teacher Percy John Ramster deflected
I had to step in and the press gave plaudit
Also the box office was well affected

It was the first Australian film market hit
The Far Paradise was the work that followed
Hollywood drama inspired me, I admit

Also German Expressionism I borrowed
It was a sell-out, but it was zilch for us
Distribution all our revenues swallowed

The financial strain threw us under the bus
We had to mortgage the family mansion
Yet our third picture we managed to discuss

The Cheaters could have brought to an expansion
We did not accept the exhibition deal
I would forevermore regret this action

Making movies became a business ordeal
During the Depression we made sporting shorts
The swimming Olympic team held great appeal

Neville Macken was our investor of sorts
We firmly went on with Two Minutes Silence
The plot was based on Armistice Day reports

It was revered as a work of alliance
Commended by Prime Minister Billy Hughes
Poet Kenneth Slessor found it of guidance

Its social realism was raved in the news
But ticket sales did not match this sentiment
This was the best of my films without excuse

In 1933 I was relevant
As one of the five world female directors
Paulette McDonagh was perceived as excellent

Our film-tryptic split in different sectors
Isabel moved to London with her consort
Phyllis also renounced her cine-receptors

Her editor profession no one could thwart
I wanted to make a film about John Flynn
The Medical Reverend of the Airport

Without raising the budget it was no-win
I made some documentaries later on
I briefly resided with my younger kin

Then moved to Kings Cross, dreaming of lives foregone
The McDonagh Sisters propelled cultural change
May the female film power of Oz push on.]]>https://api.spreaker.com/episode/58441107Sat, 27 Jan 2024 19:40:58 +0000Chiara Spagnoli GabardiI was a film director from Down Under The Emerald City is where I was born I was considered as a child of wonder My artistic aptitude was not timeworn In the suburb of Drummoyne I grew with bliss Third of seven kids, I was never forlorn With my...The Emerald City is where I was born
I was considered as a child of wonder

My artistic aptitude was not timeworn
In the suburb of Drummoyne I grew with bliss
Third of seven kids, I was never forlorn

With my family, plays I would never miss
Dad was surgeon for the theatre circle
Attending weekly soirées I reminisce

Aussie motion pictures became my portal
I formed a trio with two of my sisters
Phyllis as publisher promoted sparkle

Isabel was the actress with no glitters
Marie Lorraine is the stage name she would use
In my life and work these two were my pillars

I, the youngest, would write, direct and produce
Our home served as a natural set to start
The antique furniture looked fancy and spruce

When father passed away it all fell apart
Mama turned the house into a nursing home
Soon after she left us alone with our art

Cinema stirred in me the Stendhal Syndrome
Directing Those Who Love was unexpected
I adored the realm of flickering bichrome

My teacher Percy John Ramster deflected
I had to step in and the press gave plaudit
Also the box office was well affected

It was the first Australian film market hit
The Far Paradise was the work that followed
Hollywood drama inspired me, I admit

Also German Expressionism I borrowed
It was a sell-out, but it was zilch for us
Distribution all our revenues swallowed

The financial strain threw us under the bus
We had to mortgage the family mansion
Yet our third picture we managed to discuss

The Cheaters could have brought to an expansion
We did not accept the exhibition deal
I would forevermore regret this action

Making movies became a business ordeal
During the Depression we made sporting shorts
The swimming Olympic team held great appeal

Neville Macken was our investor of sorts
We firmly went on with Two Minutes Silence
The plot was based on Armistice Day reports

It was revered as a work of alliance
Commended by Prime Minister Billy Hughes
Poet Kenneth Slessor found it of guidance

Its social realism was raved in the news
But ticket sales did not match this sentiment
This was the best of my films without excuse

In 1933 I was relevant
As one of the five world female directors
Paulette McDonagh was perceived as excellent

Our film-tryptic split in different sectors
Isabel moved to London with her consort
Phyllis also renounced her cine-receptors

Her editor profession no one could thwart
I wanted to make a film about John Flynn
The Medical Reverend of the Airport

Without raising the budget it was no-win
I made some documentaries later on
I briefly resided with my younger kin

Then moved to Kings Cross, dreaming of lives foregone
The McDonagh Sisters propelled cultural change
May the female film power of Oz push on.]]>313australia,billyhughes,emeraldcity,film,germanexpressionism,johnramster,kennethslessor,mirriehill,music,oz,paulettemcdonagh,poetry,womenfalse117fullhttps://www.spreaker.com/episode/aziza-amir-with-music-by-umm-kulthum--58477836First I was Mofeda Mohamed Ghoneim
My humble origins were no dream breaker

My status and life would have changed in due time
Damietta, Alexandria, Cairo
Are the places were I spent most of my prime

Being a female artist could bring sorrow
My nation would shun women of performance
With the revolution, minds were less narrow

I changed name for theatrical conformance
It preserved the family reputation
Youssef Wahbi was a man of importance

The founder of Ramses marked my formation
I started acting in his stage company
To perform felt like such a liberation

I became Aziza Amir suddenly
Stockbroker Elie Derie was my patron
The Mayor of Samalout found me lovely

Ahmed El Sheirei chose me as his matron
Our nuptials created unpleasant headlines
I did not switch to a life in an apron

I quit the stage for passions of other kinds
With my Isis Film I began a new feat
Vedat Örfi Bengü didn’t meet my guidelines

Call Of Allah was exceedingly offbeat
Thus, I hired Stephan Rosti as director
Laila became the film everyone would greet

King Fuuad admired it through a projector
My dance was emulated by filmmakers
Cinema was developing a sector

Nationalism was crucial for lawmakers
I enjoyed performing in foreign pictures
I cherished working with all moviemakers

I directed my cinematic scriptures
Like The Girl From The Nile and Repent Your Sins
I chose a silent film with no sound mixtures

For a multicultural plot with love wings
And meanwhile I got divorced and remarried
With Ahmed’s brother, Mustafa, I exchanged rings

But my work in film caused him to be worried
Because I founded a business with a man
Mahmoud Zulficar’s presence made him flurried

Amir Film had all of my attention span
Hence, another separation and wedlock
The architect-turned-filmmaker was my man

The Talent Finder could make spectators flock
This Event Maker was the love of my life
Our partnership was as solid as a rock

We didn’t have kids but I was a happy wife
The daughter I adopted was Amira
We worked on a film where kith and kin were rife

I peeked into cinema’s talking era
The Godmother of Egyptian Cinema
Was my title and calling, no chimera.]]>https://api.spreaker.com/episode/58477836Sun, 28 Jan 2024 09:44:21 +0000Chiara Spagnoli GabardiI was the Land of Pharaohs’ film shaker First I was Mofeda Mohamed Ghoneim My humble origins were no dream breaker My status and life would have changed in due time Damietta, Alexandria, Cairo Are the places were I spent most of my prime Being a...First I was Mofeda Mohamed Ghoneim
My humble origins were no dream breaker

My status and life would have changed in due time
Damietta, Alexandria, Cairo
Are the places were I spent most of my prime

Being a female artist could bring sorrow
My nation would shun women of performance
With the revolution, minds were less narrow

I changed name for theatrical conformance
It preserved the family reputation
Youssef Wahbi was a man of importance

The founder of Ramses marked my formation
I started acting in his stage company
To perform felt like such a liberation

I became Aziza Amir suddenly
Stockbroker Elie Derie was my patron
The Mayor of Samalout found me lovely

Ahmed El Sheirei chose me as his matron
Our nuptials created unpleasant headlines
I did not switch to a life in an apron

I quit the stage for passions of other kinds
With my Isis Film I began a new feat
Vedat Örfi Bengü didn’t meet my guidelines

Call Of Allah was exceedingly offbeat
Thus, I hired Stephan Rosti as director
Laila became the film everyone would greet

King Fuuad admired it through a projector
My dance was emulated by filmmakers
Cinema was developing a sector

Nationalism was crucial for lawmakers
I enjoyed performing in foreign pictures
I cherished working with all moviemakers

I directed my cinematic scriptures
Like The Girl From The Nile and Repent Your Sins
I chose a silent film with no sound mixtures

For a multicultural plot with love wings
And meanwhile I got divorced and remarried
With Ahmed’s brother, Mustafa, I exchanged rings

But my work in film caused him to be worried
Because I founded a business with a man
Mahmoud Zulficar’s presence made him flurried

Amir Film had all of my attention span
Hence, another separation and wedlock
The architect-turned-filmmaker was my man

The Talent Finder could make spectators flock
This Event Maker was the love of my life
Our partnership was as solid as a rock

We didn’t have kids but I was a happy wife
The daughter I adopted was Amira
We worked on a film where kith and kin were rife

I peeked into cinema’s talking era
The Godmother of Egyptian Cinema
Was my title and calling, no chimera.]]>244alexandria,azizaamir,cairo,damietta,egypt,film,mahmoudzulficar,music,pharaohs,poetry,stephanrosti,ummkulthum,vedatörfibengü,women,youssefwahbifalse118fullhttps://www.spreaker.com/episode/fatma-begum-with-music-by-jaddanbai-hussain--58477884Is how I’ll be known when I’m with the resters
Our industry began before Hollywood

In 1899 we had The Wrestlers
In Old California arrived much later
I was with the Indian cinema settlers

I pursued a career path as a dream maker
I was from an Urdu-Muslim family
I was very hardworking, not a faker

They tried to tie my name to some calumny
Claiming I married the Sachin State ruler
No records of this exist actually

What is certain is I was a proud mother
My Zubeida, Sultana, and Shehzadi
Were the top actresses one could discover

My great-grandchildren were in this industry
I suppose motion pictures ran in our veins
From the stage I shifted to screen imagery

Veer Abhimanyu captured me in film frames
Usually men played the role of women
I liberated the system from these chains

With me the female actor was unhidden
For my fair complexion I used dark make-up
That suited the sepia reel exhibition

My pretty onscreen face wanted to shake up
So I launched my own production house promptly
In 1926 Fatma Films came up

Bulbul-e-Paristan, my first fantasy
Marked my directorial debut with grandeur
Many lakhs of rupees were used tactfully

For this high budget picture show of allure
I was the Georges Méliès of my populace
In 1928 I was in galore

My company changed name and grew in success
Victoria-Fatima Films thrived, as I
My trick photography was quite a progress

For special effects I developed a keen eye
Writing, directing, producing were my craft
For acting jobs, with bliss, I would still apply

Working at Kohinoor Studios was a blast
Namaste to the Imperial Studios too
Goddess of Luck was the film I shot for last

I acted in Duniya Kya Hai? and was through
After sixteen years in film I was content
Fatma Begum shaped cinematics anew.]]>https://api.spreaker.com/episode/58477884Sun, 28 Jan 2024 10:11:01 +0000Chiara Spagnoli GabardiThe first female director in Bollywood Is how I’ll be known when I’m with the resters Our industry began before Hollywood In 1899 we had The Wrestlers In Old California arrived much later I was with the Indian cinema settlers I pursued a career...Is how I’ll be known when I’m with the resters
Our industry began before Hollywood

In 1899 we had The Wrestlers
In Old California arrived much later
I was with the Indian cinema settlers

I pursued a career path as a dream maker
I was from an Urdu-Muslim family
I was very hardworking, not a faker

They tried to tie my name to some calumny
Claiming I married the Sachin State ruler
No records of this exist actually

What is certain is I was a proud mother
My Zubeida, Sultana, and Shehzadi
Were the top actresses one could discover

My great-grandchildren were in this industry
I suppose motion pictures ran in our veins
From the stage I shifted to screen imagery

Veer Abhimanyu captured me in film frames
Usually men played the role of women
I liberated the system from these chains

With me the female actor was unhidden
For my fair complexion I used dark make-up
That suited the sepia reel exhibition

My pretty onscreen face wanted to shake up
So I launched my own production house promptly
In 1926 Fatma Films came up

Bulbul-e-Paristan, my first fantasy
Marked my directorial debut with grandeur
Many lakhs of rupees were used tactfully

For this high budget picture show of allure
I was the Georges Méliès of my populace
In 1928 I was in galore

My company changed name and grew in success
Victoria-Fatima Films thrived, as I
My trick photography was quite a progress

For special effects I developed a keen eye
Writing, directing, producing were my craft
For acting jobs, with bliss, I would still apply

Working at Kohinoor Studios was a blast
Namaste to the Imperial Studios too
Goddess of Luck was the film I shot for last

I acted in Duniya Kya Hai? and was through
After sixteen years in film I was content
Fatma Begum shaped cinematics anew.]]>218bollywood,fatmabegum,film,india,inoldcalifornia,jaddanbaihussain,music,poetry,thewrestlers,womenfalse119fullhttps://www.spreaker.com/episode/xie-caizhen-with-music-by-xiao-shuxian--58478942Who actually made movies in China
Marion E. Wong shared my descent and sector

Her pictures were made in California
To Americans our culture she unveiled
While I shaped the cinema form in Zhongguo

The Shanghai Shadow Play Company I nailed
It was founded by Dan Duyu, my mentor
Working as one of his actresses prevailed

The Shen Bao press praised my expressive ardour
Working for Li Jiran truly changed my fate
The Nanxing Film Company was my harbour

From their I set sail to my directing state
An Orphan’s Cry made in 1925
Was my feature that the public defined great

Dysfunctional families it would revive
Glimpsing women from the working-class endure
The extras I hired were at least forty-five

The biggest set was the banquet scene for sure
The complex storyline surprised everyone
The female-directed drama had allure

My movie in theatres had a longer run
Eight days as opposed to the usual three
The box office sales it had smashingly won

My brother Yonglan, film co-star and carefree
Moved onto a prolific acting career
He appeared in fifty films of high degree

Meanwhile my film craft was stuck in second gear
I was asked to join a new project to act
But it did not evolve into a premiere

However, Xie Caizhen did have an impact
I was far from being a paper tiger
I roared through moving images, that’s a fact.]]>https://api.spreaker.com/episode/58478942Sun, 28 Jan 2024 13:38:16 +0000Chiara Spagnoli GabardiNǐhǎo from this first time female director Who actually made movies in China Marion E. Wong shared my descent and sector Her pictures were made in California To Americans our culture she unveiled While I shaped the cinema form in Zhongguo The...Who actually made movies in China
Marion E. Wong shared my descent and sector

Her pictures were made in California
To Americans our culture she unveiled
While I shaped the cinema form in Zhongguo

The Shanghai Shadow Play Company I nailed
It was founded by Dan Duyu, my mentor
Working as one of his actresses prevailed

The Shen Bao press praised my expressive ardour
Working for Li Jiran truly changed my fate
The Nanxing Film Company was my harbour

From their I set sail to my directing state
An Orphan’s Cry made in 1925
Was my feature that the public defined great

Dysfunctional families it would revive
Glimpsing women from the working-class endure
The extras I hired were at least forty-five

The biggest set was the banquet scene for sure
The complex storyline surprised everyone
The female-directed drama had allure

My movie in theatres had a longer run
Eight days as opposed to the usual three
The box office sales it had smashingly won

My brother Yonglan, film co-star and carefree
Moved onto a prolific acting career
He appeared in fifty films of high degree

Meanwhile my film craft was stuck in second gear
I was asked to join a new project to act
But it did not evolve into a premiere

However, Xie Caizhen did have an impact
I was far from being a paper tiger
I roared through moving images, that’s a fact.]]>238china,danduyu,film,lijiran,marionewong,music,poetry,shenbao,women,xiaoshuxian,xiecaizhenfalse120fullhttps://www.spreaker.com/episode/tazuko-sakane-with-music-by-nobu-koda--58478962, my reason for living
They gave true purpose to this silent lady
The first the Land of The Rising Sun would bring

My work ethics were far from being shady
I was the eldest daughter of six siblings
In the old capital I was a baby

Kyoto was Japan’s Hollywood in billings
My father was tied to the film industry
The screening room was part of my beginnings

For us it was a frequent activity
I was charmed by the yūgen of these pictures
That fine grace that kept me in captivity

I loved studying but I had saboteurs
My stepmother forced me to quit college soon
She thought it convenient to work indoors

An educated woman was a buffoon
It was arranged for me to become a wife
At twenty-one I had tied the knot to attune

But four years later I took hold of my life
My husband betrayed me and I divorced him
I returned to my parents’ home with no strife

Finally my Big Bang, it was not a whim
I no longer was a man’s accessory
For a high class woman working was not prim

I pursued my own kind of exemplary
I was determined to be self-reliant
Papa helped me find my new trajectory

I assisted a cinematic giant
Kenji Mizoguchi was a film master
With his wife Chieko I was compliant

With them I learnt how to make movies faster
Through cinema we expressed Ishin-Denshin
This unspoken connection was our plaster

On set I took multiple tasks to begin
To do so the kimono wasn’t practical
Therefore I wore trousers while people would grin

Blending in this male-workplace was tactical
I joined Mizoguchi’s transfer to Tokyo
My approach to movies was pragmatical

My directorial launch was about to glow
But colleagues got jealous of my ambition
My promotion was compromised by my foe

Sabotaging me became their sole mission
They invented an affair with my Sensei
I rose from the ashes of opposition

Back to Kyoto with my mentor was the way
To direct at last my first film, New Clothing
Kosugi Tengai’s book became cine-play

A singular romance I was disclosing
Between a future geisha and Buddhist priest
A female film director was imposing

My private life was slandered to say the least
I went back to being Mizoguchi’s aide
The second warfare arrived in the Far East

Censorship prevailed, but I was not afraid
I left my guru to form my own project
Telling the Ainu story was my crusade

I wanted to express my utter respect
To this indigenous minority group
The nation’s policies it did not reflect

Nihon did not allow you to break the loop
So, The Manchuria Film Association
Is where I worked, in the education troop

Chinese women were target of formation
During my four years there, fourteen films I made
For Sino-Japanese appreciation

Settling in Manchuria I would persuade
Then came the Asian Pacific War defeat
Those kind of documentaries had to fade

At the Chinese Studio I took a seat
I was a simple cinema craftsperson
I returned to my homeland with no drumbeat

I thought it was time for my self-assertion
It was the autumn of 1946
I was overpowered by disconcertion

I could not direct for the new politics
A college degree was obligatory
These were the rules of my country I couldn’t fix

Mizoguchi greeted me with no glory
Years before I left his team, he had proposed
I saw it as a mere act of vainglory

His wife was in hospital and I opposed I
did not foresee me needing his support
He was unemotional, yet well-disposed

I was part of the past, no future consort
He had a mistress and someone like a spouse
Being his script clerk was my only passport

To return actively in the movie house
At forty-two this fate was my kintsugi
The golden repair was this abrupt rehouse

I retired from that life eventually
In my fifties I was freelancing with bliss
I kept the tradition of rice and green tea

But some societal norms I did dismiss
Tazuko Sakane embraced queerness freely
I helped feminism rise from Japan’s abyss

Until 1953 I was surely
The only woman to direct in Nippon
When Tanaka Kinuyo began shyly

I feel close to the cinephiles who move on
I sense aidagara through motion pictures
We are united by the film reel proton.]]>https://api.spreaker.com/episode/58478962Sun, 28 Jan 2024 13:49:42 +0000Chiara Spagnoli GabardiFilms: my Ikigai, my reason for living They gave true purpose to this silent lady The first the Land of The Rising Sun would bring My work ethics were far from being shady I was the eldest daughter of six siblings In the old capital I was a baby..., my reason for living
They gave true purpose to this silent lady
The first the Land of The Rising Sun would bring

My work ethics were far from being shady
I was the eldest daughter of six siblings
In the old capital I was a baby

Kyoto was Japan’s Hollywood in billings
My father was tied to the film industry
The screening room was part of my beginnings

For us it was a frequent activity
I was charmed by the yūgen of these pictures
That fine grace that kept me in captivity

I loved studying but I had saboteurs
My stepmother forced me to quit college soon
She thought it convenient to work indoors

An educated woman was a buffoon
It was arranged for me to become a wife
At twenty-one I had tied the knot to attune

But four years later I took hold of my life
My husband betrayed me and I divorced him
I returned to my parents’ home with no strife

Finally my Big Bang, it was not a whim
I no longer was a man’s accessory
For a high class woman working was not prim

I pursued my own kind of exemplary
I was determined to be self-reliant
Papa helped me find my new trajectory

I assisted a cinematic giant
Kenji Mizoguchi was a film master
With his wife Chieko I was compliant

With them I learnt how to make movies faster
Through cinema we expressed Ishin-Denshin
This unspoken connection was our plaster

On set I took multiple tasks to begin
To do so the kimono wasn’t practical
Therefore I wore trousers while people would grin

Blending in this male-workplace was tactical
I joined Mizoguchi’s transfer to Tokyo
My approach to movies was pragmatical

My directorial launch was about to glow
But colleagues got jealous of my ambition
My promotion was compromised by my foe

Sabotaging me became their sole mission
They invented an affair with my Sensei
I rose from the ashes of opposition

Back to Kyoto with my mentor was the way
To direct at last my first film, New Clothing
Kosugi Tengai’s book became cine-play

A singular romance I was disclosing
Between a future geisha and Buddhist priest
A female film director was imposing

My private life was slandered to say the least
I went back to being Mizoguchi’s aide
The second warfare arrived in the Far East

Censorship prevailed, but I was not afraid
I left my guru to form my own project
Telling the Ainu story was my crusade

I wanted to express my utter respect
To this indigenous minority group
The nation’s policies it did not reflect

Nihon did not allow you to break the loop
So, The Manchuria Film Association
Is where I worked, in the education troop

Chinese women were target of formation
During my four years there, fourteen films I made
For Sino-Japanese appreciation

Settling in Manchuria I would persuade
Then came the Asian Pacific War defeat
Those kind of documentaries had to fade

At the Chinese Studio I took a seat
I was a simple cinema craftsperson
I returned to my homeland with no drumbeat

I thought it was time for my self-assertion
It was the autumn of 1946
I was overpowered by disconcertion

I could not direct for the new politics
A college degree was obligatory
These were the rules of my country I couldn’t fix

Mizoguchi greeted me with no glory
Years before I left his team, he had proposed
I saw it as a mere act of vainglory

His wife was in hospital and I opposed I
did not foresee me needing his support
He was unemotional, yet well-disposed

I was part of the past, no...]]>401aidagara,ainu,film,japan,kenjimizoguchi,kintsugi,kosugitenga,manchuria,music,nobukōda,poetry,tanakakinuyo,tazukosakane,women,yūgenfalse121full