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ALTERNATIVES IN THE SOUND ERA

ALTERNATIVES IN THE SOUND ERA. FRANCE 1930-1945: POETIC REALISM, THE POPULAR FRONT, & THE OCCUPATION. 2 important influences on French films of 1930-40s. FRENCH IMPRESSIONISM (1918-28) Natural locations, working class, humanistic

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ALTERNATIVES IN THE SOUND ERA

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  1. ALTERNATIVES IN THE SOUND ERA FRANCE 1930-1945: POETIC REALISM, THE POPULAR FRONT, & THE OCCUPATION

  2. 2 important influences on French films of 1930-40s • FRENCH IMPRESSIONISM (1918-28) • Natural locations, working class, humanistic • CINEMATOGRAPHY (POV shots, superimpositions, soft focus, irises & masks) & EDITING (rhythmic, rapid montage) • FRENCH SURREALISM (1924-29) • Designed to offend middle, upper class audiences • Constructed their films as dreams • END OF MOVEMENTS • Sound brought conservatism, safe, middle-of-the-road narrative films

  3. THE EARLY SOUND YEARS (1928-34) • No patents for sound; paid royalties to Western Electric & Tobis-Klangfilm • Consolidated into 2 “super-studios,” Gaumont & Pathé • Eliminated many independent studios • Big studios controlled by bankers & industrialists • Foreign film powers exploited French market • Paramount formed French Paramount • Germany's Tobis studio made films in France • Both had bigger markets, were better financed

  4. Jean Vigo • Roots in the avant-garde • Made films with Dziga Vertov's brother, Boris Kaufman • A Propos de Nice (1930): silent, avant-garde documentary

  5. Jean Vigo • Zéro de conduite (Zero for Conduct, 1933): short (45 min.) about a boarding school for boys

  6. Jean Vigo • Zéro de conduite (Zero for Conduct, 1933)

  7. Jean Vigo • L'Atalante (1934) • Moody, atmospheric film about love on a dirty barge; realistic, romantic, bleak • The 1st of the films of Poetic Realism

  8. Jean Vigo • L'Atalante (1934)

  9. René Clair • Humor, social commentary & unusual use of sound • A Nous la Liberté (Liberty is Ours, 1931): about industrialization

  10. POETIC REALISM (1934-40) • The influence of earlier movements • Celebrated common man & working class, used same types of locations (cafes, taverns, etc.) • Self-consciously ART; used symbolism, esp. erotic • The influence of early French sound film • More emphasis on narrative • Influenced by CHC’s narrative conventions & genres

  11. POETIC REALISM (1934-40) • Unlike Impressionist & early sound films, socially & politically oriented • Sometimes made by Socialist collectives; always liberal, humanistic directors • In large part a reaction to rise of Fascism in Europe

  12. POETIC REALISM (1934-40) • POPULAR FRONT PERIOD (1935-37) • 1935, liberals, radicals, Communists, & Socialists (Popular Front) gained control of government for 2 years • Optimistic period of filmmaking • Filmmakers participated in the Popular Front • Films optimistic, display confidence in the future

  13. POETIC REALISM (1934-40) • NATIONAL FRONT PERIOD (1937-40) • 1937, French right wing took power, formed coalition with middle class, moderates, & Fascists • Films more pessimistic & fatalistic; feeling that Nazism (not war) was inevitable

  14. Jean Renoir (1894-1979)

  15. Jean Renoir • Son of Impressionist painter Auguste Renoir • Most important director of Poetic Realism • Contributions to film technique & film style • Humanism • RENOIR'S CONTRIBUTIONS TO TECHNIQUE & STYLE • THE SEQUENCE SHOT • COMPOSITION IN DEPTH • DEEP FOCUS PHOTOGRAPHY • RACK FOCUS • MOVING CAMERA

  16. Jean Renoir • La Chienne (1932)

  17. Jean Renoir • The Crime of Monsieur Lange (1935)

  18. Jean Renoir • La Grande Illusion (1937)

  19. Jean Renoir • La Grande Illusion (1937)

  20. Jean Renoir • The Rules of the Game (1939)

  21. Marcel Carné & Jacques Prevert

  22. Marcel Carné & Jacques Prevert • Carné began assistant director for René Clair • Most important work result of collaboration with leftist poet & screenwriter, Jacques Prevert • 2 referred to as collective auteur of their films • Neither achieved much critical success without the other

  23. Marcel Carné & Jacques Prevert • Like Hollywood films, with French influence • Studio films, not shot primarily on locations • Collaborative efforts, with Carné serving more as a producer than as a director

  24. Marcel Carné & Jacques Prevert • Le Jour se Lève (Daybreak; 1939)

  25. Marcel Carné & Jacques Prevert • Les Visiteurs du Soir (The Devil's Envoys; 1942)

  26. Marcel Carné & Jacques Prevert • Les Enfants du Paradis (Children of Paradise; 1945)

  27. Marcel Carné & Jacques Prevert • Les Enfants du Paradis (Children of Paradise; 1945)

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