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

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ALTERNATIVES IN THE SOUND ERA FRANCE : POETIC REALISM, THE POPULAR FRONT, & THE OCCUPATION

2 important influences on French films of s FRENCH IMPRESSIONISM ( ) –Natural locations, working class, humanistic –CINEMATOGRAPHY (POV shots, superimpositions, soft focus, irises & masks) & EDITING (rhythmic, rapid montage) FRENCH SURREALISM ( ) –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

THE EARLY SOUND YEARS ( ) 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

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

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

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

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

Jean Vigo L'Atalante (1934)

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

POETIC REALISM ( ) 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

POETIC REALISM ( ) 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

POETIC REALISM ( ) POPULAR FRONT PERIOD ( ) –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

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

Jean Renoir ( )

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

Jean Renoir La Chienne (1932)

Jean Renoir The Crime of Monsieur Lange (1935)

Jean Renoir La Grande Illusion (1937)

Jean Renoir La Grande Illusion (1937)

Jean Renoir The Rules of the Game (1939)

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

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

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

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

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

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