Pure cinema
From Wikipedia, the free encyclopedia
Pure Cinema is the film theory that a movie maker can create a more emotionally intense experience using autonomous film techniques, as opposed to using stories, characters, or actors.
Unlike nearly all other fare offered via celluloid, pure cinema rejects the link and the character traits of artistic predecessors such as literature or theatre. Rather than seeing film as part of an evolutionary continuum, it declares cinema to be its own unique art form that should not borrow from any other. As such, "pure cinema" is made up of nonstory, noncharacter films that convey abstract emotional experiences through unique cinematic devices such as montage (the Kuleshov Effect), camera movement and camera angles, sound-visual relationships, super-impositions and other optical effects, and visual composition.
[edit] Examples
- Dziga Vertov's The Man with the Movie Camera
- Ron Fricke's Baraka
- Arthur Lipsett's short 21-87
- Jean-Claude Labrecque's cinema verite 60 Cycles
- Bruce Conner's A Movie
- Stan Brakhage's Dog Star Man
- George Lucas's 6-18-67, 1:42:08, and Herbie
- Jordan Belson's Allures, Phenomena, and Fountain of Dreams
- Godfrey Reggio's Koyaanisqatsi
- Leni Riefenstahl's Triumph of the Will and Olympia
- Jean Mitry's Pacific 231
- Norman McLaren's Pas de Deux
- Slavko Vorkapich and John Hoffman's Moods of the Sea and Forest Murmurs
For the French avant-garde film movement of the 1920s and 30s, see Cinema pur.
[edit] References
- Film Technique by Pudovkin, Vsevolod
- Hitchcock/Truffaut
- George Lucas Interviews
- Filmic Expression by Novros, Les
- Germaine Dulac : 1882 - 1942 Ford, Charles Paris : avant-scene du Cinema, 1968, 48 p.
- Germaine Dulac IMDb bio, Yates, Daniel
