In 1912, Solax invested $100,000 for a new studio in Fort Lee, New Jersey, the center of American filmmaking prior to the establishment of Hollywood.

[15][16] In 1894, Alice Guy was hired by Félix-Max Richard to work as a secretary for a camera manufacturing and photography supply company.

Alice continued to work at Gaumont et Cie, a decision that led to a pioneering career in filmmaking that spanned more than 25 years and involved her directing, producing, writing and/or overseeing more than 700 films.

[18] Although she initially began working for Léon Gaumont as his secretary, Guy became familiar with his clients, relevant marketing strategies, and the company's stock of cameras.

[22] A 30 July 1896 newspaper describes a "chaste fiction of children born under the cabbages in a wonderfully framed chromo landscape," and provides other details that confirm Alice Guy's description of her first film.

"Before very long," Alice Guy reported in 1912, "every moving picture house in the country was turning out stories instead of spectacles and plots instead of panoramas.

She used the illustrated James Tissot New Testament as reference material for the film, which featured 25 episodes and was her largest production at Gaumont to date.

In addition to this, she was one of the pioneers in the use of audio recordings in conjunction with the images on screen in Gaumont's "Chronophone" system, which used a vertical-cut disc synchronized to the film.

She employed some of the first special effects, including using double exposure, masking techniques, and running a film backward.

[26] In 1907, Alice Guy married Herbert Blaché, who was soon appointed the production manager for Gaumont's operations in the United States.

After working with her husband for Gaumont in the U.S., the two established their own business in 1910, partnering with George A. Magie in the formation of The Solax Company, the largest pre-Hollywood studio in America.

[30] In 1913, Guy-Blaché directed The Thief, the first script sold by future Wonder Woman creator William Moulton Marston.

[21] Guy-Blaché and her husband divorced several years later, and with the rise of the more hospitable and cost-effective climate in Hollywood, their film partnership also ended.

It was published, in French, in 1976 and was translated into English a decade later with the help of her daughter Simone, daughter-in-law Roberta Blaché, and the film writer Anthony Slide.

She regularly communicated with colleagues and film historians, correcting previously made and supposedly factual statements about her life.

She crafted lengthy lists of her films as she remembered them, with the hope of being able to assume creative ownership and receive legitimate credit for them.

[33] In 2002, film scholar Alison McMahan published Alice Guy Blaché: Lost Visionary of the Cinema.

In December 2018, Kino Lorber released a six-disc box, Pioneers: First Women Filmmakers, in cooperation with the Library of Congress, the British Film Institute, and others.

It includes Matrimony's Speed Limit (1913), which was selected for preservation in the National Film Registry of the Library of Congress in 2003.

In 1912, when she was pregnant with her second child, she built a studio in Fort Lee, New Jersey, and continued to complete one to three films a week.

[49] Alice Guy-Blaché never remarried, and in 1964 she returned to the United States to live in Wayne, New Jersey, with her older child, her daughter, Simone.

[50] In 2002, Circle X Theatre in Los Angeles produced Laura Comstock's Bag-punching Dog, a musical about the invention of cinema, and Alice Guy-Blaché was the lead character.

In 2011, an off-Broadway production of Flight[51] premiered at the Connelly Theatre, featuring a fictionalized portrayal of Guy-Blaché as a 1913 documentary filmmaker.

[citation needed] In 2004, the Fort Lee Film Commission unveiled a historical marker dedicated to Alice Guy-Blaché at the location of Solax Studio.

In 2012, for the centennial of the founding and building of the studio, the Commission raised funds to replace her grave marker in Maryrest Cemetery in Mahwah, New Jersey.

[52] In 2011, the Fort Lee Film Commission successfully lobbied the Directors Guild of America to accept Alice Guy-Blaché as a member.

[citation needed] On the occasion of the 150th anniversary of her birth, around July 1, 2023, several French institutions celebrated Alice Guy and her legacy: These films were produced by Gaumont (1896–1907), Solax (1910–1913), or others (1914–1920).