Lucienne Dechorain, whose professional name was Lucie Derain, was above all a film critic, but she was also a film director, film editor, fiction writer, and very likely a screenwriter. She entered the world of cinema in 1919 by subtitling and editing newsreels at Van Goitsenhoven, Gaumont (in 1921), and Eclipse-Journal (in 1923). We know that she wrote the screenplay La Tour de Vie et de Mort for Films Albatros, although the manuscript provides us with no further information, including a year, and there is no evidence that it was ever made into a film. She was a contributor to Hebdo-Films, La Semaine Cinématographique, Le Quotidien (Paris, 1923-1936), Cinémagazine, Pour vous, Cinémonde, Ciné-Miroir, Photo-Ciné, and La Cinématographie Française. Since in this last journal the editorial board is not mentioned, it is not possible to definitely state for how long she belonged to it, however, she was a member of the editorial board (Thévenet 1953, 233; Beyle and D’Hugues 1999, 131). Between October 11, 1924 and June 1940 she wrote the “Courrier des studios” column (also called “Studios,” “Dans les studios,” “Le Travail dans les studios”), a survey dedicated to the news from the studios and the set. She was also a contributor to La Technique Cinématographique, Ciné-Amateur, and La Vigie Marocaine, as well as the editor-in-chief of Le Film Français from 1945 to 1948.
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