French Impressionism
French Impressionism was a silent film movement in France from roughly 1918 to 1930 that prioritized subjective experience and emotional exploration over a traditional narrative. It achieved this through experimental techniques like innovative camera work, editing, and lighting to convey a character's internal state, thoughts, and feelings, often creating a psychological focus in the films
Characteristics:
Emphasis on subjective reality: The movement was built on the belief that film should convey the fleeting nature of experience and the depth of human emotion by showing the world from a character's psychological perspective.
Expressive techniques: Directors used creative camera and editing techniques to translate mental states into visual terms.
Superimpositions: Layering multiple images on top of each other to represent memories or fantasies.
Filters and distortions: Used to visually represent a character's state of mind.
Unusual camera angles and close-ups: Manipulating perspective to highlight significance or create a specific effect.
Rhythmic editing: Creating emotional impact through the rhythm and juxtaposition of images.
Focus on internal action: The primary interest was on the "inner action" of characters—their thoughts, feelings, and psychological journeys—rather than external, physical behavior.
Mood and suggestion over plot: Films prioritized atmosphere and suggestion, using the story as a framework for exploring psychological depth and fleeting sensations.
Influence of painting: The movement borrowed its name and some principles from the painting movement, focusing on "impression" and atmosphere rather than literal representation.
Innovative cinematography: Filmmakers used a variety of innovative camera techniques, including slow motion, camera movement independent of the subject, and strategic use of light and shadow to evoke specific moods and meanings.
Key Figures:
Abel Gance, Jean Epstein, Germain Dulac, Marcel L’Herbier, Louis Delluc, Jean Renoir,
Dimitri Kirsanoff
DIRECTORS AND FILMS:
ABEL GANCE
- La Dixième symphonie, 1918
- J’Accuse, 1919
- La Roue, 1922
- Napoléon, 1927
JEAN EPSTEIN
- Coeur fidèle, 1923
- Six et demi onze, 1927
- La Glace a Trois Face, 1928
- The Fall of the House of Usher, 1928
GERMAINE DULAC
- The Smiling Madame Beudet, 1923
MARCEL L’HERBIER
- El Dorado, 1921
LOUIS DELLUC
- Fièvre, 1921
- La Femme de nulle part, 1922
JEAN RENOIR
- Nana, 1926
DIMITRI KIRSANOFF (Markus David Sussmanovitch Kaplan)
- Ménilmontant, 1926
- Brumes D'Autumne, 1929