OUTLINE CHAPTER 4 and 5

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OUTLINE CHAPTER 4 - FRANCE IN THE 1920S The French Film Industry after World War I France was severely affected by WW1. Only 20-30% of films screened in France were actually French made Competition from Imports The USA, and then gradually, the UK and Germany dominated the already small French domestic market French films were not popular anywhere other than French colonies and neighboring countries with substantial French culture Abel Gance, Marcel L’Herbier, Germaine Dulac, and Jean Epstein all made films for large firms because the French film industry was desperate for the development of a unique French style Disunity within the Film Industry Pathe and Gaumont cut back on film production because of the high cost and high risk of production High taxes kept profits low Competition from the US was fierce as their film industry was following the American trend of corporate conglomeration. The US outspent French firms on film production The government refused to use protectionist policies to nurture the industry until the 30s
Outdated Production Facilities Filmed on location instead of in sets because the film companies had small studios in french suburbs Lighting was not as good as in America. They used shadow techniques with natural lighting instead of creating lighting effects with all artificial sources Generally just low capital in filmmaking Major Postwar Genres Serials were popular and were pushed by industry because they were the only way to make adaption films profitable Crime-related thrillers were popular but the popularity stagnated when there was a social push against indecency Most big production films were historical epics Comedy and fantasy were popular. Fantasy used effects in the same vein as early french filmmakers like Melies Andre Antione - a theatre legend, moved into cinema at the end of his life. Known for naturalism and lyricism The French Impressionist Movement 1918 to 29. Admired Hollywood obsession with pictorial beauty and psychological exploration The Impressionists' Relation to the Industry
Impressionists had to make commercial films in addition to their experimental works in order to make ends meet Sought to convey emotional “impressions” Towards the later years of the the movement, there were finally some impressionists who were intertwined with the mainstream film industry Albatross left russia after communist takeover and became influential Many famous and successful filmmakers went and formed their own companies, which helped spur artistic development Impressionist Theory Believed that art is a form of expression where artist creates experience which evokes emotions without being overt Formal Traits of Impressionism focus on conveying character subjectivity via mental images Used blurring and distortion to communicate subjectivity Gance used triptych for wide shots, symbolic juxtaposition, and subjectivity Also utilized fast and rhythmic editing Shot with filters and in real locations Narratives were conventional and the effects listed were only used for important scenes A few films did try to use innovative narratives, focusing on subjectivity The End of French Impressionism
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