There are no doubt a number of reasons why the name Germaine Dulac is not as immediately familiar to most folks, including cinephiles, as her contemporaries Salvador Dalí, Luis Buñuel, or her collaborator-turned-detractor Antonin Artaud. Here are two: the casual misogyny of the Surrealist Boy’s Club, and the fact that Dulac’s films don’t really fit the Surrealist mold very well in the first place.
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