For my “Women as Filmmakers” class, I wrote a brief research paper on Germaine Dulac, focusing on some of her filmmaking techniques.
Lon Chaney and I have something in common: we are both hearing children of deaf parents. In the Deaf community, we are simply referred to as CODAs, an acronym for “Children of Deaf Adults.” As a prominent actor of the Silent Era, Chaney’s upbringing is something that has somewhat-recently come to my attention and is one that keeps tugging at me for more acknowledgment. As a result, I was compelled to look more into how that might have influenced his renowned career of the silver screen.
Picture this: a dappled array of lavender wildflowers and golden poppies lie sweetly in the sun; thick green trees overwhelm the middle-ground and dot all the way back to mountains bathed in atmospheric hazy blue; white puffy clouds float lazily in the pristine sky. This scene belongs to that of a large painting, nestled in the corner of a room under its own spotlight. Entranced, I walked up to it, letting its vibrant color wash over me. I couldn’t help but feel a strange pull towards this specific painting. My eyes started wandering over to the equally-important placard, where it provided the scintillating information that the painter was deaf. I could feel my heart soaring high above the summertime pastoral scene.