... The cinema is now able to witness and record an event, history in part, played in real time. ... "Writing for the cinema, writing films," Alexandre Astruc would later say, "it is writing with the richest vocabulary any artist could have at his disposal, it is writing with the paste of the world."
Just as the cinema became an extension of photography for Lumière, it became another way for Georges Méliès to further explore his craft as an illusionist. ...
It is with the English filmmakers that cinema discovers a third function, that of the visual story. ...
In the years before the First World War, the cinema begins to explore avenues in which it will continue to thrive for years to come. ... International cinema is booming, and artistic merit is measured by the foot, by the reel, where the great stories of humankind are explored. ... The cinema exploits all existing themes come to the point where previously unknown themes become its own: eroticism, great spectacle, realism, suspense, the pie in the face, the western. ... "
In 1908, the idea of the cinema as a work of art is born. ... It is therefore important to note that the high conceptualization cinema as art clashes with the popular demands for spectacle, readily satisfied by the means of this new medium of deception.
MUTE CINEMA
2. The Silent Era
European schools of cinema, by the beginning of the first world war, must find a way to adapt to the oncoming of American dominance, not only on the economics of the industry but also the esthetics. ... Griffith single-handedly transforms cinema into a mature art form with his two films "Birth of a Nation" (1915) and "Intolerance" (1916). ... He speaks of the coming of world cinema and what it will look like. ... Erich von Stroheim, Viennese-born, already brings realism to the screen with "Foolish Wives" (1921): "I have wanted and I always want to show the cinema real life with its crassness, its darkness, its violence, its sensuality and - with singular contrast - in the middle of this mess, purity. ... The whole of American cinema must be seen as a thousands of diverse contributions and contradictions. As, after the War, European cinema rises from the ashes, new schools are born in France, Sweden, Germany, the Soviet Union. ... Cinema is not only turned avant-garde and art-worthy, but it is also popular. ... Then came the supreme genius of "Napoléon" (1927) which confirms his importance in world cinemas history. ... With these filmmakers, the French avant-garde cinema - la première vague - gained an unignorable influence in Europe and in the U. ... This kind of cinema, the opposite of vague, of the imprecise, of the uninformed, does not contain a single decoratif shot, there can be found to look good, no, we are in essence up to the neck. ... Early Soviet Cinema
Enter the wave of Soviet films. Cinema had already been in Russia, before the Revolution of 1917, what it was everywhere else: entertainment. ... However, during the war years of 1914-1918, due to lagging imports from foreign countries in terms of film, the Russian cinema began coming to its own. ... His name will also be forever linked with one of the first great theoreticians of Soviet cinema: Kuleshov. ... The cinema of the editor overthrew that of the actor, as Marxism took over the decadent bourgeoisie. ... By twenty-six, he improvises "Battleship Potemkin" (1925), filmed in weeks, in a creative fever which gives birth to all the ideas, all the guidelines, and all the constraints of a young Soviet cinema, which is still culturally poor. ... His soul is that of an Asian disciple, of revolutionary theater and of the cinema. ...
"Strike", "Battleship Potemkin" and "October" (1928) demonstrate the force of the artform that is cinema. ... Yet we find others who are making names from themselves in the history of revolutionary Soviet film. ... He eventually churns out beautiful and sensitive "peasant cinema". ...
And found apart from these three greats of this emerging Soviet cinema is Dziga Vertov (1897-1954). ... It is with him that later Cinéma Vérité filmmakers have learnt many of their values concerning the narrative art of cinema.
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