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La femme de nulle part (1922) Dir. Louis Delluc

#louis delluc

FRENCH FUCKING IMPRESSIONISM

1920′s - 1930′s

World War I

French economy was devastated.

Film production capacity was seriously depleted.

France lost international markets to the US.

American, German and British films began to dominate the French market.

The two big pre-war French production companies, Pathé and Gaumont, retreated into distribution and exhibition.

“There is cinema before and after La Roue (1923) as there is painting before and after Picasso”. -Jean Cocteau

Film trends of the 1920′s

French cinema is known for its connection to realism films; realist films shot on location.

Historical epics / fantasy films / comedies / serials.

Surrealism (avant-garde).

“Impressionist” films;

Some made on a shoe string.

Others made on a vaste budget.

Most impressionist filmmakers moved between commercial ventures and personal, experimental projects.

Several formed their own production compagnies.

Impressionism can be confusing

Cinematic impressionism is NOT related to the late 19th century painting movement.

In cinema it designates a group of innovative filmmakers working from the end of WWI to the coming of sound.

Technical innovators who saw cinema as a means of expression akin to writing and painting.

Key impressionist filmmakers

Louis Delluc

Abel Gance

Dimitri Kirsanoff

Jean Epstein

Germaine Dulac

Marcel L’Herbier.

Louis Delluc and the ciné-club (film society) movement

Birth of sophisticated form of criticism and theory.

Louis Delluc edited and wrote for various film journals advocating that cinema is a true art form.

Part of Cinéma & Cie and Photogénie.

Key characteristics

Location shooting is restrained, natural acting is preferred.

Emphasis on communication of emotions, feelings and impressions.

Evocation of character subjectivity via the depiction of thoughts.

Exploration of character’s mental states and emotions.

Stylistic paradigm

Camerawork;

Camera distance; close-up (as synecdoche, symbol or subjective image).

Camera angle; high or low.

Camera movement; independent of subject, for graphic effects, point of view.

Mise-en-scène;

Lighting; single source, shadows indicating off-screen actions, variety of lighting situations.

Décor.

Arrangement and movement of figures in space.

Optical devices;

As transitions.

As magical effects.

As emphasizing significant details.

As pictoral decoration.

As conveyors of abstract meanings.

As indications of objectivity (mental images, semi-subjective images, optical subjectivity).

Characteristic editing patterns;

Temporal relations between shots (Flashback or fantasy).

Spatial relation between shots (synthetic, glance/object, crosscutting).

Rhythmic relations between shots.

Photogénie

Specific to cinema.

Different perspective.

Relation to Kino-Eye ?

“Any aspect of things, beings or souls whose moral character is enhanced by filming reproduction”. -Jean Epstein

Filmography (all links to full movie on YouTube)

-La Roue (The Wheel) (1923) Dir. Abel Gance.

Sources

-David Bordwell, French Impressionist Cinema Culture Dissertations (book).

Recommended viewing (all links to full movie on YouTube)

-Coeur Fidèle (Faithful Heart) (1923) Dir. Jean Epstein.

Early fucking cinema (here)

The fucking cinema of attraction (here)

Narrative fucking continuity/integration (here)

Silent fucking comedies (here)

German fucking expressionism (here)

Soviet fucking montage (here)

Film fucking noir (here)

Hollywood fucking melodrama (here)

Direct fucking cinema and cinéma fucking vérité (here)

Fucking documentary (here)

#ihatescriptwriting #film history #film studies #film historians #doing film history #french impressionism #jean epstein #louis delluc #abel gance #coeur fidèle

FRENCH FUCKING IMPRESSIONISM

1920′s - 1930′s

World War I

French economy was devastated.

Film production capacity was seriously depleted.

France lost international markets to the US.

American, German and British films began to dominate the French market.

The two big pre-war French production companies, Pathé and Gaumont, retreated into distribution and exhibition.

“There is cinema before and after La Roue (1923) as there is painting before and after Picasso”. -Jean Cocteau

Film trends of the 1920′s

French cinema is known for its connection to realism films; realist films shot on location.

Historical epics / fantasy films / comedies / serials.

Surrealism (avant-garde).

“Impressionist” films;

Some made on a shoe string.

Others made on a vaste budget.

Most impressionist filmmakers moved between commercial ventures and personal, experimental projects.

Several formed their own production compagnies.

Impressionism can be confusing

Cinematic impressionism is NOT related to the late 19th century painting movement.

In cinema it designates a group of innovative filmmakers working from the end of WWI to the coming of sound.

Technical innovators who saw cinema as a means of expression akin to writing and painting.

Key impressionist filmmakers

Louis Delluc

Abel Gance

Dimitri Kirsanoff

Jean Epstein

Germaine Dulac

Marcel L’Herbier.

Louis Delluc and the ciné-club (film society) movement

Birth of sophisticated form of criticism and theory.

Louis Delluc edited and wrote for various film journals advocating that cinema is a true art form.

Part of Cinéma & Cie and Photogénie.

Key characteristics

Location shooting is restrained, natural acting is preferred.

Emphasis on communication of emotions, feelings and impressions.

Evocation of character subjectivity via the depiction of thoughts.

Exploration of character’s mental states and emotions.

Stylistic paradigm

Camerawork;

Camera distance; close-up (as synecdoche, symbol or subjective image).

Camera angle; high or low.

Camera movement; independent of subject, for graphic effects, point of view.

Mise-en-scène;

Lighting; single source, shadows indicating off-screen actions, variety of lighting situations.

Décor.

Arrangement and movement of figures in space.

Optical devices;

As transitions.

As magical effects.

As emphasizing significant details.

As pictoral decoration.

As conveyors of abstract meanings.

As indications of objectivity (mental images, semi-subjective images, optical subjectivity).

Characteristic editing patterns;

Temporal relations between shots (Flashback or fantasy).

Spatial relation between shots (synthetic, glance/object, crosscutting).

Rhythmic relations between shots.

Photogénie

Specific to cinema.

Different perspective.

Relation to Kino-Eye ?

“Any aspect of things, beings or souls whose moral character is enhanced by filming reproduction”. -Jean Epstein

Filmography (all links to full movie on YouTube)

-La Roue (The Wheel) (1923) Dir. Abel Gance.

Sources

-David Bordwell, French Impressionist Cinema Culture Dissertations (book).

Recommended viewing (all links to full movie on YouTube)

-Coeur Fidèle (Faithful Heart) (1923) Dir. Jean Epstein.

Early fucking cinema (here)

The fucking cinema of attraction (here)

Narrative fucking continuity/integration (here)

Silent fucking comedies (here)

German fucking expressionism (here)

Soviet fucking montage (here)

Film fucking noir (here)

Hollywood fucking melodrama (here)

Direct fucking cinema and cinéma fucking vérité (here)

Fucking documentary (here)

#ihatescriptwriting #film history #film studies #film historians #doing film history #french impressionism #jean epstein #louis delluc #abel gance #coeur fidèle

#louis delluc

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