The 1930s:The Golden Years of the Hollywood Studio System
Background: The Great Depression
The 1930s were the years of the Great Depression
Dorothea Lange, Migrant Mother, 1936
At that time, a few big studios had created an oligarchy and specialized in specific genres, stars and director.
Paramount: “European” style productions. produced the bizarre film like Duck Soup.
Loew’s/MGM: Big production with directors like George Cukor and with big star like Katherine Hepburn.
Warner Bros: Concentrated on creating popular genre and then mining them: They Busky Berkleley musical, The gangster film, the problem film based on current headlines, the “biopic”.
Universal: New stars in visually striking horror films
Also at that time, the rising of the Nazism. So a lot of people from Europe massively immigrated to United States, which leads a “Brain Strain” situation in Europe.
Cinematography Style in 1930s
- “Soft” images with an extensive range of grays to create glamorous images.
- “Deep focus” created using optical printing or by placing certain elements very close from the lens and others in the background at a considerable distance
- Sound Recording: Light weight booms
- Camera movements: cranes
- special effects
Overall, the new techniques improved a lot, but narrative action and character psychology still remained central, and continuity rules still promoted spatial orientation. Sound, color, deep focus and other techniques enchanted the style.
Orson Welles was the most influential director to emerge in the 1930s. Citizen Kane
Some new genres arsed and new variats are introduced in the old ones.
- The Musical
- The Screwball Comedy
- The Horror Film
- The Social Problem Film
- The Gangster Film
- Film Noir
- The War Film
The Introduction of Sound
- Multiple discoveries and patents around the same period of time, the second half of the 1920.
- Main countries in the race: United States, Germany and the USSR
- First Sound Film: cheap way of reproducing stage acts and music
- On October6, 1927. The Jazz Singer (Alan Crosland) premiered by Warner Bros. This film developed into a major hit, demonstrating the profit potential of feature-length “talkies”.
- In 1928, The Lights of New York (Bryan Foy) is the first 100% talkis
When Sound Came In:
- Microphones were multiple-directional and insensitive
- Sound had to be recorded on the spot
- The sound track occupied part of the left of the rectangular images
- cameras were noisy and were put in bulky booths
So in this way
- Difficult to get precise frames
- camera booths had wheels, but these were usually served to move the camera between set-ups: too noisy and awkward for tracking shots (only short panning movements through the booth windows were possible)
- Yet multiple-camera shooting wasn’t abandoned. (Film makers were reluctant to surrender the flexibility and convenience.)
A little later, in the beginning of 1930s
- Technicians were quick to solve the previously intentioned problems
- Studio build padded metal “blimps” that silenced the camera
- Microphone booms came into use
- It became increasingly possible to record more than one track of sound for a scene and to mix them into a single final track
The Introduction of Sound & Globalization: Crossing the Language Barriers
The language barrier threatened to limit export possiblities.
- No translation at all, thus is musicals.
- Dubbing a new sound track, which was clumsy and expensive since the mixing of sound was impossible in the early years: recording dialogues and music at the same time and it was difficult with lip-synch
- Added subtitles
- Eliminated dialogue
Later, big companies decided to created the Multilingual film , but it was too expensive.
How problems was solved later? Advances in sound mixing techniques came into use, such as lip-synch recording technology. Meanwhile, other countries apart from Us has developed their own industries, such as Indian Bollywood.
Most of films are character-driven.
Within a film’s formal system, characters make things happen and respond to event. Their actions and reactions contribute strongly to our engagement with the film.
Why does these character-centered stories are dominate in right now film industry? Because film is like a building, a Matrix, a network of different elements. When we watch a film, we are following the film’s internal logic, we follow the rules within that specific film, and we build a coherent visual.
The Importance of Characters:
Unlike characters in novels, film characters typically have a visible body. And even sometimes, one character may be embodied by different actresses to suggest the different sides of that character.
A character has traits: attitudes, skills, habits, tastes, psychological drives and other qualities that distinguish the character. When a character has possessed several varying traits, some at odds with others, but we tend to call the character complex or three-dimensional.
For example: Sherlock Holmes is a mess of traits.
And always at most, father-son relationship dominates the theme in movies. A boy is to become a man, he has to become a father. In most cases, action plots are interactive with love plots within each movie.
To build a character, first need to give him/her as many problems as possible. He should be moved by reasons, his external or internal drives. All basic situation should be bad, then the character needs to take action, in this way, a story will start.
The Hero’s Journey
The Hero’s Journey is a pattern of narrative identified by the American scholar Joseph Campbell that appears in drama, storytelling, myth, religious ritual, and psychological development. It describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds on behalf of the group, tribe, or civilization.
Its stages are:
1. THE ORDINARY WORLD.
The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma. The hero is shown against a background of environment, heredity, and personal history. Some kind of polarity in the hero’s life is pulling in different directions and causing stress.
2. THE CALL TO ADVENTURE.
Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change.
3. REFUSAL OF THE CALL.
The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly. Alternately, another character may express the uncertainty and danger ahead.
4. MEETING WITH THE MENTOR.
The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey. Or the hero reaches within to a source of courage and wisdom.
5. CROSSING THE THRESHOLD.
At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values.
6. TESTS, ALLIES AND ENEMIES.
The hero is tested and sorts out allegiances in the Special World.
The Power of Montage: Soviet Cinema (1924-1930)
- War Communism (1918-1920)
- The New Economic Policy (1921-1924)
- Growth and Export, increasing State Control
1924 Lenin (who liked avant garden)died, and soon came the Stanley, who only wants socialistic realism/ muscle identity. There are young man who come of age during the Russian Revolution in October 1917. Most of them came from fields outside of film.
The Russians adored editing. This was partly because, in the years after 1917 when the Soviet Union was encouraging a nascent film industry, would-be film-makers didn’t have enough cameras or film stock to shoot anything. Instead they experimented in the cutting room with found footage, from pre-revolutionary Russian melodramas to rare Hollywood imports. A crucial moment was the smuggling into Russia of a print of DW Griffiths’s Intolerance (1916), the most brilliantly edited early Hollywood film. Under the influential teacher Lev Kuleshov, a group of film students in Moscow re-ran the film constantly, then re-edited it themselves, discovering the radical effects produced when they changed a sequence.
Sergei Mikhailovich Eisenstein was a pioneering Soviet Russian film director and film theorist, often considered to be the “Father of Montage”. He is noted in particular for his silent films Strike (1924), Battleship Potemkin (1925) and October (1927), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958).
Vsevolod Illarionovich Pudovkin (16 February 1893 – 20 June 1953) was a Russian and Soviet film director, screenwriter and actor who developed influential theories of montage. Pudovkin’s masterpieces are often contrasted with those of his contemporary Sergei Eisenstein, but whereas Eisenstein utilized montage to glorify the power of the masses, Pudovkin preferred to concentrate on the courage and resilience of individuals.
Dziga Vertov (1896-1954)
David Abelevich Kaufman better known by his pseudonym Dziga Vertov, was a Soviet pioneer documentary film, newsreel director and cinema theorist. His filming practices and theories influenced the Cinéma vérité style of documentary movie making and, in particular the Dziga Vertov Group active in the 1960s.
Our eyes see very little and very badly – so people dreamed up the microscope to let them see invisible phenomena; they invented the telescope…now they have perfected the cinecamera to penetrate more deeply into he visible world, to explore and record visual phenomena so that what is happening now, which will have to be taken account of in the future, is not forgotten.
—Provisional Instructions to Kino-Eye Groups, Dziga Vertov, 1926
1. rapid means of transport
2. highly sensitive film stock
3. light handheld film cameras
4. equally light lighting equipment
5. a crew of super-swift cinema reporters (etc)
—Vertov op cit
Lev Kuleshov (1899-1970)
Lev Vladimirovich Kuleshov was a Soviet filmmaker and film theorist who taught at and helped establish the world’s first film school (the Moscow Film School). Kuleshov may well be the very first film theorist as he was a leader in Soviet montage theory — developing his theories of editing before those of Sergei Eisenstein (briefly a student of Kuleshov) and Vsevolod Pudovkin. For Kuleshov, the essence of the cinema was editing, the juxtaposition of one shot with another. To illustrate this principle, he created what has come to be known as the Kuleshov Experiment. In this now-famous editing exercise, shots of an actor were intercut with various meaningful images (a casket, a bowl of soup, and so on) in order to show how editing changes viewers’ interpretations of images.
Soviet montage cinema was suppressed under Joseph Stalin during the 1930s as a dangerous example of Formalism in the arts, and as being incompatible with the official Soviet artistic doctrine of Socialist Realism.
They were young man who come of the age during the Russian Revolution in October 1917. Most of them came from fields outside film industry.
For them: my freedom ends at some one else’s freedom starts from.
Background history: government wants all the film materials, so the young people had to edit the existing footage, thus a new way of editing came, we call that montage.
These filmmakers work in the same revolutionary spirit as the visual artists of the constructivism. Because they believe art should be a way to shape people’s mind.
New Media (then photography) allows for new ways of seeing (literally) photo example. Objective forms carrying universal meaning were far more suitable to the movement than subjective or individualistic forms. Constructivist themes are also quite minimal, where the artwork is broken down to its most basic elements. New media was often used in the creation of works, which helped to create a style of art that was orderly.
With constructivism, art becomes a form of social engineering.
Vladimir Tatlin (1885-1953).
Tatlin was considered the father of Russian Constructivism. His most famous piece remains his “Monument to the Third International” (1919-20, Moscow), a 22-ft-high (6.7-m) iron frame on which rested a revolving cylinder, cube, and cone, all made of glass which was originally designed for massive scale.
Tatlin’s goal in art was to create as many perspectives as possible.
New forms of theater are invented as well, such as “Biomiechanical Acting”
Biomechanics, antirealistic system of dramatic production developed by the avant-garde director Vsevolod Meyerhold in the early 1920s . Meyerhold drew on the traditions of the commedia dell’arte and kabuki and on the writings of Edward Gordon Craig for his system, in which the actor’s own personality was eliminated and he was entirely subordinated to the director’s will. Coached as gymnasts and acrobats and emphasizing pantomime rather than words, the actors threw themselves about in puppetlike attitudes at the director’s discretion. For these productions the stage was exposed to the back wall and was then furnished with harshly lit, bare sets consisting of scaffoldings, ladders, and ramps that the actors used. Biomechanics had lost its appeal by the late 1920s, though Meyerhold’s emphasis on external action did become an element in Soviet actor-training techniques.
Abstract art becomes graphic design and propaganda. For example:
Ei Lissitzky “Beat the Whites with the Red Wedge (1919)”
And there is no more difference between high art and popular culture…for example:
Aleksandr Rodchenko, filmposter of the Battleship Potemkin, 1926
Aleksander Mikhailovich Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or below—to shock the viewer and to postpone recognition. He wrote: “One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again.” Much of the work of 20th century graphic designers is a direct result of Rodchenko’s earlier work in the field. His influence has been pervasive enough that it would be nearly impossible to single out all of the designers whose work he has influenced.
The Russian artists were influenced by Dada, but they have different believes, they believed that art could change society, and they also had belief in revolutionary.
Showing the Power of Editing: ” The Kuleshov Effect”
The Kuleshov Effect is a film editing (montage) effect demonstrated by Russian filmmaker Lev Kuleshov in the 1910s and 1920s.
Kuleshov edited together a short film in which a shot of the expressionless face of Tsarist matinee idol Ivan Mozzhukhin was alternated with various other shots (a plate of soup, a girl, a little girl’s coffin). The film was shown to an audience who believed that the expression on Mozzhukhin’s face was different each time he appeared, depending on whether he was “looking at” the plate of soup, the girl, or the coffin, showing an expression of hunger, desire or grief respectively. Actually the footage of Mozzhukhin was the same shot repeated over and over again. Vsevolod Pudovkin (who later claimed to have been the co-creator of the experiment) described in 1929 how the audience “raved about the acting… the heavy pensiveness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the dead child, and noted the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same.”
Kuleshov used the experiment to indicate the usefulness and effectiveness of film editing. The implication is that viewers brought their own emotional reactions to this sequence of images, and then moreover attributed those reactions to the actor, investing his impassive face with their own feelings. Kuleshov believed this,along with montage, had to be the basis of cinema as an independent art form.
The experiment itself was created by assembling fragments of pre-existing film from the Tsarist film industry, with no new material. Mozzhukhin had been the leading romantic “star” of Tsarist cinema, and familiar to the audience.
Kuleshov demonstrated the necessity of considering montage as the basic tool of cinema art. In Kuleshov’s view, the cinema consists of fragments and the assembly of those fragments, the assembly of elements which in reality are distinct. It is therefore not the content of the images in a film which is important, but their combination. The raw materials of such an art work need not be original, but are pre-fabricated elements which can be disassembled and re-assembled by the artist into new juxtapositions.
Eisenstein’s montage theories are based on the idea that montage originates in the “collision” between different shots in an illustration of the idea of thesis and antithesis. He describes five methods of montage in his introductory essay “Word and Image”. Which are:
Five Methods of montage
- Metric – where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. This montage is used to elicit the most basal and emotional of reactions in the audience.
- Rhythmic – includes cutting based on continuity, creating visual continuity from edit to edit.
- Tonal – a tonal montage uses the emotional meaning of the shots — not just manipulating the temporal length of the cuts or its rhythmical characteristics — to elicit a reaction from the audience even more complex than from the metric or rhythmic montage.
- Overtonal/Associational – the overtonal montage is the cumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicated effect.
- Intellectual – uses shots which, combined, elicit an intellectual meaning.
Einstein’s intellectual montage was influenced by the idea of Karl Marx (1818-1883) and in particular his dialectical materialism. Eisenstein agrees that, especially intellectual montage, is an alternative system to continuity editing. His idea was that “Montage is conflict” (dialectical) where new ideas, emerge from the collision of the montage sequence (synthesis) and where the new emerging ideas are not innate in any of the images of the edited sequence.Thus a new concept, which illustrates Marxist dialectics explodes into being.
Dialectic is a method of argument for resolving disagreement that has been central to Indic and European philosophy since antiquity. Karl Marx presented Dialectical materialism(Marxist dialectics):
My dialectic method is not only different from the Hegelian, but is its direct opposite. To Hegel, the life-process of the human brain, i.e. the process of thinking, which, under the name of ‘the Idea’, he even transforms into an independent subject, is the demiurgos of the real world, and the real world is only the external, phenomenal form of ‘the Idea’. With me, on the contrary, the ideal is nothing else than the material world reflected by the human mind, and translated into forms of thought. (Capital, Afterword, Second German Ed., Moscow, 1970, vol. 1, p. 29).
Sergei Einstein’s Film:
Battleship Potempkin (1905)
October: Ten Days That Shook the World (1928)
Soviet Ciname Form and Style
Narrative story telling is prominent. Besides that, society forces (instead of individuals) are central cause of all agents, individual represents types and sometimes it’s the masses that is used as a protagonist. You have the masses or the social types.
– Vivid and dynamic rather than continuous
– Rapid (sometime even one or two frames long) for rythmic sound or to enhance the violence and explosiveness of the action
– Use of more shots for each action (directors believe that cuts, in and of themselves, stimulate the spectator)
– Specific strategies involving temporal, spatial, and graphic tension a overlapping (for emphasis) or elliptical temporal relations (jumpcuts) = contradictory temporal + spatial relations
– Use of thematic intercutting (intellectual montage)
– Conceptual and metaphircal use of non-diegetic inserts (intellectual montage) What is outside the realm of the story, create metaphor
– Create graphic contrast from shot to shot (flipped images) à to increase conflict or comedy
Camerawork & Muse-en-Scene
Avoid the conventional chest-height, straight-on framing: Favors dynamic angles à people and places look heroic or threatening
– Canted or decentered framings à deynamic
– Extremely low horizon line
– Exploitation of special-effects cinematography: split screen framing, superimposition for symbolic purpose (rather than psychological as in the French Impressionism)
– Real settings
– Juxtapostition of contrasting shapes, textures, volumes, colors, and the like in the frame itself
– No use of fill light on the sets à characters appear against black backgrounds
– Use of a variety of types of acting, ranging from the realistic to the highly stylised – often within the same film
– Use of typage: embody a social type; non actors
– Many performers borrowed stylized techniques from constructivist theater and from circus: biomechanics and eccentricity.
The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924) by Soviet director Lev Kuleshov. It is notable as the first Soviet film that is explicitly anti-American.
Film Analysis this movie:
The Man with a movie Camera
Man with a Movie Camera (Russian: Человек с киноаппаратом), sometimes called The Man with the Movie Camera, The Man with a Camera, is an experimental 1929 silent documentary film, with no story and no actors.
“The film Man with a Movie Camera represents
AN EXPERIMENTATION IN THE CINEMATIC COMMUNICATION
Of visual phenomena
WITHOUT THE USE OF INTERTITLES
(a film without intertitles)
WITHOUT THE HELP OF A SCENARIO
(a film without a scenario)
WITHOUT THE HELP OF THEATRE
(a film without actors, without sets, etc.)
This new experimentation work by Kino-Eye is directed towards the creation of an authentically international absolute language of cinema – ABSOLUTE KINOGRAPHY – on the basis of its complete separation from the language of theatre and literature.”
The film has an unabashedly avant-garde style, and emphasizes that film can go anywhere. For instance, the film uses such scenes as superimposing a shot of a cameraman setting up his camera atop a second, mountainous camera, superimposing a cameraman inside a beer glass, filming a woman getting out of bed and getting dressed, even filming a woman giving birth, and the baby being taken away to be bathed.
Vertov was one of the first to be able to find a mid-ground between a narrative media and a database form of media. He shot all the scenes separately, having no intention of making this film into a regular movie with a storyline. Instead, he took all the random clips and put it in a database, which Svilova later edited. The narrative part of this process was her job. She had to go into that random pool of clips that Vertov filmed, edit it, and put it in some kind of order. Vertov’s purpose of all this was to break the mold of a linear film that the world was used to seeing in those days.
The film also features a few obvious stagings such as the scene of a woman getting out of bed and getting dressed and the shot of chess pieces being swept to the center of the board (a shot spliced in backwards so the pieces expand outward and stand in position). The film was criticized for both the stagings and the stark experimentation, possibly as a result of its director’s frequent assailing of fiction film as a new “opiate of the masses.”
All the techniques to make the image distorted. Camera is everywhere. For him, a movie camera can and should go every where literally, to create a new version.
Film taking about film. Self-reflection-ism against realism.
modern film like DOGMA 还有昆丁
Surrealist cinema (1924-1929)
Surrealist cinema is a modernist film theory lanched in Paris in the 1920s. Related to an earlier tradition of Dada cinema, surrealist cinema is characterised by juxtaposition, the rejection of reality, and a frequent use of shocking imagery.
L’Age d’or began as a second collaboration between Luis Bunuel and Salvador Dali after their first film Un Chien Andalou. After a falling out it was completed by Bunuel. It is a surrealist work that is a scathing attack on bourgeois society and the Roman Catholic Church. The film consists of a series of interlinked vignettes about a couple who are passionately in love, but cannot consummate their passion because they are constantly thwarted by family, the Church, and society in general. There are violent expressive religious scenes and shocking sexual images as well, such as a young woman performing fellatio on the toe of a statue. There are also excerpts of a short science film about a scorpion cut into the film. It is a strange and unique piece of cinema. Bunuel went on to make many extradordinary films usually with a surreal aspect to them. They include Los Olivados (1950), The Exterminating Angel (1962), Belle de jour (1967), The Discreet Charm of the Bourgeoisie (1972), and That Obscure Object of Desire (1977).
L’Afe D’or: violent, absurd images
Un Chien Andalou
Un Chien Andalou is a 1929 silent surrealist short film by the Spanish director Luis Buñuel and artist Salvador Dalí. It was Buñuel’s first film and was initially released in 1929 to a limited showing in Paris, but became popular and ran for eight months.
The film has no plot in the conventional sense of the word. The chronology of the film is disjointed, jumping from the initial “once upon a time” to “eight years later” without the events or characters changing very much. It uses dream logic in narrative flow that can be described in terms of then-popular Freudian free association, presenting a series of tenuously related scenes.
In spite of varying interpretations made since the film originated, Buñuel made clear throughout his writings that, between Dalí and himself, the only rule for the writing of the script was that “no idea or image that might lend itself to a rational explanation of any kind would be accepted.” Moreover, he stated that, “Nothing, in the film, symbolizes anything. The only method of investigation of the symbols would be, perhaps, psychoanalysis.
The aim of Surrealism Cinema: to free individual ideas, let people express themselves freely. it’s a movement of liberty, explore your deep conscious, and reveal your hidden instinct.
Luis Buñuel (1900-1966)
Buñuel calls Un Chien Andalou “a passionate call to murder“
Leaders of the Movement: Guillaume Apollinaire and André Breton
André Breton (French 1896-1966)
- Frottage (wrijven)
- Ecriture antomatique (try to write without thinking, keep the flow, let it go on)
- Collage (turn two different elements into a third totally different thing, a third meaning)
- Cadavre exquis (example: project on the wall, cloud; or two pieces of paper, rub one over the other, then leave some trace on the bottom paper)
Surrealism Cinema Characteristics:
Antinarrative: attracting causality itself, many surrealist films teas us to find a narrative logic that is simple absent.
Dream Logic: causality is as evasive as in a dream, events are juxtaposed for their disturbing effect.
Character psychology is nonexistent.
Favorite themes in Surrealist Films:
- sexual desires
- Bizarre Humor.
Stylistic Characteristics of Surrealism Cinema:
Muse-en-scene: Influenced by surrealist painting
Editing: Amalgam of some Imprssionist devices
(many dissolves and superimposition but without the story to motivate them, such as day dream etc.)
A-moro: doesn’t want to tell story, but still use some devices, continue editing-invisible editing (logic, space, time , rules seems nature), for to hook the viewers, appear nature, but it’s artificial, even looks nature.
The Seashell and the Clergyman (1927)
This bilingual (French-English) box set with a DVD and a book is an indispensable resource not only for researchers and students but also for enthusiasts who want to learn more about the film. It offers the possibility to rediscover Germaine Dulac’s famous film in its restored version while it facilitates comprehension of this avant-garde masterpiece thanks to the perspectives opened up by the various artistic and theoretic contributions of the participants.
In 1929 Surrealist artist Max Ernst published the first of a series of collage novels. It was a kind of comic strip, but not a real comic book, selecting fragments of wood engravings from nineteenth-century magazines, encyclopaedias and trivial novels. Some collages parody famous works of art. The newly forged combinations of scientific instruments and floating figures and of landscapes with unexpected interiors guarantee the odd dream world identified so closely with Surrealism. These scenes were praised in the book’s introduction. This was to be ‘the ideal picture book of this age’, and the future was to leap forth from it. ‘Children’s eyes, wide with awe, that open like butterflies’ wings on the shore of a lake’. The time had now come – according to the introduction – for ‘the first hundred visions of fairies’. These prophetic words came from André Breton, the executuve director of surrealism.
French Impressionism (1918-1928) & Surrealism
French Impressionist Cinema, also referred to as the first avant-garde or narrative avant-garde, is a term applied to a group of French films and filmmakers of the 1920s.
French Impressionist Cinema, also referred to as the first avant-garde or narrative avant-garde, is a term applied to a group of French films and filmmakers of the 1920s.
Based on David Bordwell’s Family resemblance model 4
A. Camera distance: close-up (as synecdoche, symbol or subjective image)
B. Camera angle (high or low)
C. Camera movement (independent of subject, for graphic effects, point-of-view)
A. Lighting (single source, shadows indicating off-screen actions, variety of lighting situations)
C. Arrangement and movement of figures in space
III. Optical Devices
A. As transitions
B. As magical effects
C. As emphasizing significant details
D. As pictoral decoration
E. As conveyors of abstract meanings
F. As indications of objectivity (mental images, semi-subjective images, optical subjectivity)
IV. Characteristic Editing Patterns
A. Temporal relations between shots (Flashback or fantasy)
B. Spatial relation between shots (synthetic, glance/object, crosscutting)
C. Rhythmic relations between shots
Cœur fidèle (1923)
Cœur fidèle is a 1923 French drama film directed by Jean Epstein. It has the alternative English title Faithful Heart. The film tells a melodramatic story of thwarted romance, set against a background of the Marseille docks, and experiments with many techniques of camerawork and editing.
The adventurous technical experiments of the film are balanced by the realism of the setting. The characters are unglamorous and belong to a working-class milieu, living in cheap lodgings, frequenting rough bar-rooms. Cœur fidèle is one of several early films to use the location of the Marseille dockside, and the evocative images of looming ships and deserted wharfs contribute to a style which would be characterized over the next decade and a half as “poetic realism”.
Eve Francis FIÈVRE (1921)
The French Impressionism is the art of the emotions.
1 intimate psychological stories
2 changing emotions and experiences
3 inner motivation
The form of the Impressionism used a lot of technique, for example, in the movie Napoleon
1 new lens (275mm)
2 multiple frame images
3 wide screen ratio
4 handheld camera
5 enormous mobility of the camera, which introduces of sound in the film
The movement stopped in 1929, but, the involvement of the French Impressions is still a lot.
French Impressionist films relied on quick editing techniques and camerawork in order to relay the message of the film. With regards to the camerawork, the filmmakers used techniques such as superimpositions, filters, framing shots, slow motion, using the camera out of focus and using camera movement to help convey the emotions of the characters and the mood of the story. In “The Passion of Joan of Arc,” several of these techniques are apparent, especially the quick cuts, and the framing shots. In Impressionist films the “rhythm was central” (Thompson 91).