Abstract
This article explores the intermedial work of Sarah Bernhardt and Gabrielle Réjane, two internationally famous French actresses of the Belle Époque. Taking their 1912 double-bill program featuring Bernhardt's Camille (La Dame aux Camélias, André Calmettes and Henri Pouctal, Film d'Art, 1911) and Réjane's Mme Sans–Gêne (André Calmettes and Henri Desfontaines, Film d'Art, 1911) as a case study, I argue that they are pioneering figures whose films expose the relationship between the Parisian actress, modern industry, and the global visibility of the French entertainment industries.
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