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COM 261 (21)
Lecture 3

COM 261 Lecture 3: World Cinema-France

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University of Tampa
COM 261
Hector Sotomayor

FRANCE French Impressionism ● Theory: ○ Cinema as Art ○ Synthesis of Other Art Forms ● Fascinated w/ Pictorial Beauty & Psychological Exploration ● Photogenie ○ Each thing existing in the world know another existence on the screen ■ Shows the souls of people and the essence of objects ● Rhythm: Visual rhythms formed in juxtapositions of movements within shots ● Emotions rather than Stories ● Deep Subjectivity ● Memories thru flashbacks ● Optical Devices ○ Filters ○ Superimpositions ○ Fast Cutting ○ Natural Light French Poetic Realism ● *It was more of a tendency than a film movement ● Poetic ○ Heightened Aestheticism (Ex. glossy studio style, long takes, deep focus shots, & diegetic sound techniques) ● Realism: ○ Fatalistic Themes (Ex. tragic fates, emotional performances of desperation, cynicism, & dark humor) ● Meticulousness: (Ex, talking while eating or smoking) ● Directors: ○ Jean Renoir ○ Marcel Carné ○ Julien Duvivier ○ Jean Vigo ● Films: L’Atalante (Vigo, 1934), , Pépé le Moko (Duvivier, 1937),Children of Paradise (Carné, 1945) French New Wave (La Nouvelle Vague) ● Audience didn’t need to know everything “show don’t tell” ● French life ● Jump cuts/panning (can open up the frame)/hand-held cameras/ ● Breaking 4th wall André Bazin ● Film Theorist/ Critic of Cashiers du Cinema, Film Magazine ○ ● Recognized Renoirs’s brilliance in essay The French Renoir ● Pioneer to Auterism & Cinephile Movement ○ Auteur Theory ■ Cinéma-Stylo: “Cinema-Pen” ■ Inspired by François Truffaut’s essay “A Certain Tendency in French Cinema”& American film critic Andrew Sarris ■ Arguments: The Film Director is the author of his/her works ■ Previously, films were recognized as a collaborative medium ● Father figure to Francois Truffant
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