By the time 1926 had rolled around, German expressionism, and the horror films it produced, was already in full swing. The time of the horror film as a viable form of filmmaking had begun. However, there are several elements of import that need to be addressed before moving onto expressionism. By this point, French impressionism was the source of the era’s most important works in the evolution of film technique, language and style in Europe. However, by this point it had begun to lose steam. Most filmmakers who had attempted impressionism had not found the success to which Abel Gance (La Roue), Jean Epstein (Coeur fidèle) and Germaine Dulac (La Souriante Madame Beudet) had achieved. Though this would be the year that Jean Renoir...
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- 2/15/2017
- Screen Anarchy
Mark, Aaron and Scott Nye kick off the first of a seven episode series about French cinema in the 1930s. We give an overview of the decade and some historical context, and discuss the French silent tradition and how that it transitioned to sound. We also get into detail about two important filmmakers, Jacques Feyder and Jean Vigo. Feyder was an important filmmaker in his time, but his works are not as prominent today, whereas Vigo was nearly forgotten in the 1930s and discovered after the war.
Episode Links & Notes
Special Guest: Scott Nye from CriterionCast and Battleship Pretension. You can follow him on Twitter.
3:15 – Dedication and Thanks
9:35 – Intro to French Film Series
28:15 – From Silent to Sound
46:30 – Jacques Feyder
1:13:30 – Jean Vigo
Criterion Collection: Poetic Realism Flicker Alley: The House of Mystery French Masterworks: Russian Émigrés in Paris 1923-1929 Flicker Alley: L’Inhumaine Flicker Alley...
Episode Links & Notes
Special Guest: Scott Nye from CriterionCast and Battleship Pretension. You can follow him on Twitter.
3:15 – Dedication and Thanks
9:35 – Intro to French Film Series
28:15 – From Silent to Sound
46:30 – Jacques Feyder
1:13:30 – Jean Vigo
Criterion Collection: Poetic Realism Flicker Alley: The House of Mystery French Masterworks: Russian Émigrés in Paris 1923-1929 Flicker Alley: L’Inhumaine Flicker Alley...
- 9/25/2016
- by Aaron West
- CriterionCast
From the beautiful Coeur Fidèle to a perfectly restored 1899 film projector, the city’s festival of rediscovered gems induced strained necks and gasps of delight
The best festivals contain surprises, secret gigs arranged too hastily to appear in the printed programme, but which draw a discerning crowd, jumpy with anticipation. At the 30th edition of Il Cinema Ritrovato, Bologna’s annual celebration of restored and rediscovered cinema, the bonus addition to the bill was not a film-maker, or a movie, but a projector. The machine in question was a British model, made in 1899, but now once again in perfect working order.
Related: A window on infinity: rediscovering the short films of the Lumière brothers
Continue reading...
The best festivals contain surprises, secret gigs arranged too hastily to appear in the printed programme, but which draw a discerning crowd, jumpy with anticipation. At the 30th edition of Il Cinema Ritrovato, Bologna’s annual celebration of restored and rediscovered cinema, the bonus addition to the bill was not a film-maker, or a movie, but a projector. The machine in question was a British model, made in 1899, but now once again in perfect working order.
Related: A window on infinity: rediscovering the short films of the Lumière brothers
Continue reading...
- 7/4/2016
- by Pamela Hutchinson
- The Guardian - Film News
Jean Epstein is finally getting a coffret of restored DVDs very soon. He's a major figure and has been much neglected, although one has to admit that few of the impressionist filmmakers around him have fared much better. His reappraisal should also boost the reputation of his sister, Marie, a filmmaker in her own right and an extraordinary figure. It's impossible to see her performance in her brother's film Coeur fidèle (1923) without practically jumping out of your seat and asking "Who's that?" Well, maybe it's possible for some people, but not for me. I speak from experience.
A magnetic screen personality, Marie never acted again, but she co-wrote Coeur fidèle and several other major films by Jean, as well as those of Jean Benoît-Lévy. There's some suspicion that she may also have helped out on the direction of some of these, uncredited, but even without getting into guesswork we can...
A magnetic screen personality, Marie never acted again, but she co-wrote Coeur fidèle and several other major films by Jean, as well as those of Jean Benoît-Lévy. There's some suspicion that she may also have helped out on the direction of some of these, uncredited, but even without getting into guesswork we can...
- 2/20/2014
- by David Cairns
- MUBI
On the occasion of Anthology Film Archive's retrospective on Jean Epstein and the publishing of a new anthology on the filmmaker edited by Sarah Keller and Jason N. Paul, Jean Epstein: Critical Essays and New Translations, we are here reprinting the essay by Nicole Brenez, "Ultra-Modern: Jean Epstein, or Cinema 'Serving the Forces of Transgression and Revolt.'" The anthology is published by Amsterdam University Press and available in the Us and Canada from the University of Chicago Press. Many thanks to Amsterdam University Press, University of Chicago Press, Magdalena Hernas, Sarah Keller and Nicole Brenez.
Jean Epstein disappeared over half a century ago, in 1953. Yet, few filmmakers are still as alive today. At the time, a radio broadcast announced the following obituary: “Jean Epstein has just died. This name may not mean much to many of those who turn to the screens to provide them with the weekly dose of emotion they need.
Jean Epstein disappeared over half a century ago, in 1953. Yet, few filmmakers are still as alive today. At the time, a radio broadcast announced the following obituary: “Jean Epstein has just died. This name may not mean much to many of those who turn to the screens to provide them with the weekly dose of emotion they need.
- 5/30/2012
- MUBI
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