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.
Great examples of pure cinema are 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 Connor's A Movie, Stan Brakhage's Dog Star Man, George Lucas's "6-18-67" and "1:42.08" and "Herbie", Jordan Belson's "Allures" and "Phenomena" and "Fountain of Dreams", Godfrey Reggio's Koyaanisqatsi, and Slavko Vorkapich and John Hoffman's Moods of the Sea and "Forest Murmurs".
[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
