The movie industry started to take shape in the early 19th century from technological innovations and a series of developments. Cinema does not have a precise starting point since many inventors created motion picture cameras and other techniques at around the same time.

We’re all familiar with the big names such as Georges Méliès, Thomas Edison, Sergei Eisenstein, Federico Fellini, D. W. Griffith, François Truffaut etc… But what about Alice Guy-Blaché, Louis Weber, Dorothy Arzner, Ida Lupino, Maya Deren, Germaine Dulac and Margarethe von Trotta (amongst many others, I would list them here, but I would skip my word limit.)

In the early years of the film industry, women were known to have held positions of high-regard, such as directors, producers, actresses, writers, editors, technicians, camera crew and even had their own production companies! Perhaps the reason why these women go unnoticed is that the work of women has been devalued over time. Also, the shift of the film industry to Hollywood resulted in an isolation of power to a select few studios, run by monopolistic men.

“There is nothing connected with the staging of a motion picture that a woman cannot do as easily as a man, and there is no reason why she cannot completely master every technicality of the art.”

From The Memoirs of Alice Guy-Blaché.

Alice Guy-Blaché was the first female directors in the history of film. In 1896 she produced ‘La Fée aux Choux’, one of the earliest narrative films to be created. Alice had initially worked as a secretary to Leon Gaumont, founder of the Gaumont film studios. Some time later, she started to produce films and she became the head of production for the studio up until 1906. In 1907, Alice set up a film company, Solax Studios, and throughout her career, she directed 1000 films, 22 (feature length films), however, only 350 survive. She was an innovator in synchronised sound, early use of colour and is thought to have invented the concept of filming on location and produced one of the first close-ups. When she had returned to the US after some time in France, she could not recover all her films and could not get the Gaumont company to acknowledge her work. Soon after, she started giving public talks and also wrote her memoirs about her work.

Dorothy Arzner, one of the only major female directors in Hollywood during the “Golden Age” of the 20s and 30s, previously worked as a stenographer and worked as a film director. She is also the first editor to be named in a film’s credits and director. She produced 2 films, 14 talkies and is attributed to have invested the boom microphone.

Margaret Booth had started her working at D. W. Griffith’s studio in 1915 as a film joiner and negative cutter. Florence Osborne wrote a 1925 Motion Picture Magazine article: “Among the greatest ‘cutters’ and film editors are women. They are quick and resourceful. They are also ingenious in their work and usually have a strong sense of what the public wants to see. They can sit in a stuffy cutting-room and see themselves looking at the picture before an audience.”

There were many well-known female colourists at the time. The Edison company employed Mrs Kuhn to hand colour prints from their films. Madame Elisabeth Thuiller’s Company managed over 200 female colourists!

“I coloured all of Méliès’ films, and this work was carried out entirely by hand. I employed two hundred and twenty workers in my workshop. I spent my nights selecting and sampling the colours, and during the day; the workers applied the colour according to my instructions. Each specialised worker applied only one colour, and we often exceeded twenty colours on a film.”

MMe Thuiller in an interview, Mazeline, 74n1, 1929.

The cinema industry had changed with the Hays Code in the 1930s (A Code To Govern The Making Of Motion Pictures). The early silent films had featured complex women as protagonists and dealt with contemporary issues such as birth control, sex, crime, divorce and mental illness). The Code erased these ideas, sexism grew, and changed the audience’s perception, giving rise to the headless women of Hollywood.

Women still fail to be treated as equals and it is unfortunate that these women who were responsible for many innovations are still waiting to come out from the shadows.

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Article by Hannah Portanier.

Olof Gollcher (1889-1962) is the extraordinary man who comes to mind by the mention of Palazzo Falson. He was born in Valletta and was the son of a wealthy shipping merchant of Swedish and Maltese descent. He was concerned with Malta’s cultural heritage and he was passionate about collecting objets d’arts and historical relics. Olof lived a fulfilled life, even serving in both the First and Second World War. However, the aim of this article is to highlight Olof as a philanthropist – a generous man. He repetitively organised social activities for the needy and the elderly.

Olof was known for his generosity – a striking example of this is when he organised a dinner for 100 old and needy people in Rabat in 1937, on the occasion of the Coronation of King George VI and Queen Elizabeth. 

A committee was set up to organise the event that included a number of volunteers who helped in the distribution of tickets and serve dinner to the guests. Other helpers offered their services providing tables and chairs to set up the hall for dinner and Messrs Critien printed the tickets and programme gratuitously. A copy of the printed dinner programme, which was probably distributed to all the guests, still survives in the archives of Palazzo Falson. (Palazzo Falson Archives 038/002). It reveals interesting information about the event and how it unfolded. The dinner was held on Sunday 9^th March 1937 at the Rabat Government School. It started with a Holy Mass, celebrated by Reverend Father Nicholas Magro, Lector General O.F.M at St. Paul’s Oratory and dinner was blessed by the Reverend Father Anthony Buhagiar, the Rabat Parish Priest.

The needy and old were served a complete meal starting with a soup and followed by the traditional dish of timpana, baked macaroni in a pastry case, pork, potatoes and gravy and finished off with fresh fruit and roly-poly with cream. Cigars were also offered to the guests. Music entertainment was provided by ‘Mr. Corits’ Band’ and ‘The Jolly Old Fellows Jazz Band. Both bands included ‘God Save the King’ in their repertoire.

On the inside cover of the printed programme, one finds a photograph of their Majesties, King George VI and Queen Elizabeth – a fitting way to feature an official photograph of the two distinguished individuals, in whose honour the dinner was served. 

Many people contributed towards the success of this dinner, however it was thanks to the generosity of Olof that the event took place.

Newspaper cuttings affirm that Olof continued to organise other dinners for the poor. One of the reports (taken from a newspaper cutting found at the Palazzo Falson Archives 041/001) state that: ‘He was so very delighted at their (the needy and old people’s) enjoyment and their gratitude that he thought of giving a similar treat on Boxing day of the same year at the Government Elementary school.’  It seems that these events became seasonal over the years.

Others should follow this example; the pleasure and happiness occasioned the aged poor is out of all proportion to the outlay’. 

(Quote from a newspaper cutting reporting the Coronation dinner for the poor, Palazzo Falson Archives 041/001).

In 1941, a Christmas dinner was held at The Norman House (today known as Palazzo Falson) and 125 elderly men, of limited means, from Rabat and Mdina were invited to this feast (documented in the newspaper cuttings album at the Palazzo Falson Archives 041/001)

These dinner parties are witness of Olof Gollcher’s kindness and his involvement in philanthropic work. He is also known for his contribution towards Malta’s cultural heritage, so much so that he donated his Mdina Palazzo and his treasured collections for the enjoyment of the public.

I would like to thank Ms Caroline Tonna, the Curator of Palazzo Falson Historic House Museum for her guidance.

Palazzo Falson historic house museum is open daily (except on Mondays) from 10.00 am to 5.00 pm (last entry at 4.00 pm).

Palazzo Falson Historic House Museum, Villegaignon Street, Mdina 

Opening Hours: Tue-Sun 10.00-17.00hrs (last entry 16.00hrs) 

www.palazzofalson.com 

Find us on facebook, TripAdvisor and Instagram 

The post The Original Maltese Philanthropist and Culture Enthusiast appeared first on The Third Eye.

Art history is the study of a wide range of subjects from prehistoric cave paintings up until AI (artificial intelligence) art. Subjects include painting, sculpture, architecture, clothing, manuscripts and furniture, among others. These subjects are taken in their historical, social and cultural context, and it’s like a long process of interrogation, trying to find who, what, why, where and when the object of artistic significance was created and why it was important in its context.

As students, we don’t just consider works of art and architecture in theory form, as in a book. We also raise awareness about current affairs, as well as discuss and engage with other academics in the field, to share our findings and ideas. To better understand our subject, it is of the utmost importance for us to have onsite visits, such as to churches, galleries, abandoned buildings, and other places of relevance where we can engage with the art being studied. This discipline will enrich thought and expose you to our diverse world of culture. It brings together economics, politics, religion, history, literature, philosophy and science.

If society doesn’t care about the arts, it is a clear indication that our history is not appreciated. Studying art is challenging, but it teaches us to appreciate life and valuable lessons. Studying art history is a truly eye-opening experience, and exposes us to the humanities, the preservation and conservation of art, and encourages critical thinking.

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