There was also a Russian production group called “Yermoliev”, later called “Albatros”, which was led by actor Ivan Mosjoukine, who produced impressionist films and co-produced The Deceased Mathias Pascal and Epstein films. Make a visit to https://free-123movies.com/ for the best movies as per your love for the medium.
As various stylistic techniques used in Impressionist films were becoming more popular in other films, and in recent years that this movement manifested itself, the filmmakers began a diffusion, and the movement declined. Moreover, the distributing firms were no longer interested in financing such films, because at that time they gave no hope of competition from the foreign and domestic markets. Another contributing factor to the end of Impressionism was the arrival of sound films, which had a much higher cost, making it even more difficult to finance productions and the independence of filmmakers.
- L’Herbier began more commercial productions, as did Epstein, who became independent through non-impressionist productions, while Gance did not become fully independent and his later films had very few characteristics of his previous productions. Dulac devoted himself to surrealistic productions and short abstract films. Of all the movements that took place in France, the impressionist lasted the longest, from about 1918 until 1929.
If there are ways of classifying silent cinema, one of them is to divide it into films that needed the invention of a sound reproduction technique and films that assumed the silent characteristic and sought in-depth to use the language of images and the technical refinement for the film narrative development. Amid so much effort and so much research, the French Impressionist movement in the cinema, unjustly, is by no means the most recognized era of the country’s film industry.
- The main reason, perhaps, is because seventh art has established itself as mass entertainment, where most people would have difficulty assimilating art cinema. Moreover, there is a huge refusal worldwide to silent cinema and European cinema of any age. Even in France, Impressionism was a minority and marginal movement, which eventually fell into oblivion, and Surrealism ended up being the most studied and was hidden by the silent national cinemas (German, Russian, Scandinavian, Italian and American).
Nevertheless, it is considered by scholars to be part of the “first wave” of French cinema, as opposed to the nouvelle vague, which literally means “new wave”. Impressionism not only broke with existing norms but also created cultural activities, theoretical offices and a cinematic style. The name was instrumental in distinguishing movement from others and in describing the fundamental trait, the tendency to a subjective technique that is achieved through working with the camera along with accelerated rhythmic montage.
The legacy left for the study of cinema that was left during this period is very important. First, it was at this time and by one of the Impressionist directors, Louis Delluc, that the theory of photogenic was first applied. It is also his theory that the cinema of each country must be nationalistic and tell its own stories, without bringing adapted versions of other international works.
Delluc is also considered the inventor of film criticism, being the founder and editor of several magazines on the subject, in which he criticized the films as a whole, giving tips on how techniques could be improved and influenced some Brazilian publications such as the magazine. The fan In the same context arises in France the first film theorist Ricciotto Canudo, an Italian who lived most of his life in France and who, among other things, analyzed each film, not as a whole, but part by part, besides to give the cinema the name of ‘seventh art’.