What do you think of French film history? More than a thousand words ...

More than 20 years after the birth of 1 surreal movies in 1930s, with the rise of avant-garde art movement in Europe, the revision of movie names by Carnudo in Italy and the relative isolation of movie markets in various countries brought about by the world war, the concept of "pioneer" was introduced into the film field for the first time as a medium. The expression of movies (as opposed to Mei's narrative-based optical illusion) has been unified as a channel for people to convey themselves. The most obvious example of this period is French surrealist movies. As France, which cultivated impressionist films, it is not surprising to develop surrealist films. The most famous representatives of surrealist films are Spanish bunuel and French jean cocteau. 1925, bunuel came to Paris by attending an international conference, where he made friends with painting for the first time and tried to direct plays. After three years of surreal atmosphere infiltration, he and Da created An Andalusian Dog in a way similar to Kerouac's later "automatic writing". This tendency runs through bunuel's life's creation, so that most of his works can be used as examples of psychoanalytic film theory. Generally speaking, surreal films are rooted in psychoanalysis, and like German expressionist films, they are the diffusion and synthesis of avant-garde art movement in the field of literature and art. 2 Poetic realism In the creation of traditional drama films in the 1930s, poetic realism was the most important trend of thought, and its name was not accurate. These films are based on the bleak national economy, filled with a difficult and sad tone, and are all telling hopeless pessimistic stories. The representatives of this trend are jean renoir and Marcel Carney. Actor jean gabin starred in several of the most important poetic realistic films. Carne's "The Fog Pier" is filled with an ethereal atmosphere in the constant closure of poetic realism, which brings a mysterious and fresh atmosphere to Zhongjing's popular traditional stage film with ethereal fog. In the 1940s, 1 the rigid works of Jacques Becker, robert bresson and jacques tati were far from the main theme and interest: Baker's crime movies, Bresson's minimalist religious asceticism works, and Tati's satirical comedy of modern life. However, in terms of expression, they all followed the principle of restraint, reduced the use of subjective sound effects, made the distance between the camera and the characters more flexible, and reduced the importance of dialogue. The above features constitute the main features of French films in the 1940s. Only from the perspective of the internal influence of the film industry, this is the inevitable subversion after the decline of mainstream films represented by Renoir in the 1930 s (the transformation process is particularly obvious in Baker). Although the pessimistic tone of poetic realism has been retained to some extent, until today, we are still willing to think that coldness and failure are the truth of the world. Melville has always been an insurmountable link when independent companies talk about the "new wave", which depends on the far-reaching influence of Melville's production company on truffles later. From 65438 to 0949, Melville filmed Silence of the Sea with his own funds. The film, adapted from the novel of the same name, was a great success after its release, which created conditions for the continuous operation of his own production company and became a precedent for the "new wave" generals to get rid of the dual independence of economy and art. There was not much dialogue in the whole film, and the plot was driven by voiceover. Stylistically, this is a standard French work in the 1940s, and Melville has always maintained a rigid and cold style in his later works. Type 3 French Hollywood films were formally formed in the 1940s, among which George-Henry Crouzeau was the representative. Crouzeau debuted in the forties and reached the peak of his personal career in the fifties. He is good at shooting depressing and satirical thrillers about villains. New Wave in 1950s 1 "New Wave" refers to the trend that a large number of new directors appeared in French film industry from the end of 1950s to the beginning of 1960s. In the context of the new wave, three things are very important. First, the successful precedent of the independent production company mentioned above; Second, the rise of andre bazan's film theory; Third, the emergence of Italian neo-realism paved the way for the emergence of a new wave from the economic and theoretical aspects. The "newness" of the new wave is mainly reflected in the economic level. Young directors get rid of the studio system and rack their brains to raise funds for filming, which has become an unprecedented hot spot. Regardless of inheritance, real estate, fund-raising among friends and state or enterprise funding, it has become ammunition for writing screen poems. Of course, the shooting cost that individuals can afford is still based on the popularity of equipment costs. In the following decades, due to the development of technology, the degree of capital independence is getting higher and higher, which leads to the continuous decline of the influence of traditional large-scale film manufacturing enterprises, and will eventually die out and transform (especially in Japan). Generally speaking, the directors of New Wave are mainly screenwriters of film manuals in the 1950s. Left-wing intellectuals, such as Ren 'ai and Valda, are often referred to as "leftists". The left bank faction and the new wave overlap each other, and it is impossible to draw a clear line. For example, the new wave is right-leaning in politics as a whole, but Godard is undoubtedly different, and the left bank is left-wing, but most of the time his attitude is soft and even ambiguous. The left bank makes good use of form, but in this respect, the distance between Valda's works and the new wave is shorter. Compared with the exploration of the literature attached to the Left Bank School, Godard only pays more attention to music and art, so we often confuse the New Wave with the Left Bank School. In this context, the meaning of "new wave" tends to be vague and vigorous, and it has further become the international practice of naming film prosperity, such as the later "Czech new wave" and "Japanese new wave". 2 Documentary and Semi-Documentary The development of documentary in the middle and late 1950s showed a new turning point. Besides war documentaries, producers are more concerned about expressing their views. Lamorisse and Jean Rouch are important directors in this period (including chris marks and Reynet, who are generally classified as leftists). La Maurice's best works come from semi-drama and semi-documentary, which takes children as the leading role and endows animals or inanimate objects with personality, similar to Chialos Tammy later. These short masterpieces are full of poetry. Rush began filming documentaries with anthropological purposes in Africa in the late 1950s. Photography is basically portable, and there are often voiceovers for Rush to discuss and explain with the protagonist. It is very similar to today's animal world column, and a concept closely related to Rush is "real movies". The biggest difference between a real movie and direct cinema at the same time is that the producers will deliberately guide and mobilize the emotions of the recorded people, and interfere with and influence the development of views. Many times, the real movie. /kloc-pastoral style in the 0/60 s In the French film industry in the 1960 s, excellent films with rural stories as the background appeared intensively. Jean-Paul Rapano and claude berry are two outstanding representatives. Rapano uses slightly strong but soft light to strike typical symbols such as castle trees to set off the nostalgic romantic mood, while Berry's sight is more pessimistic, creating a strong aesthetic feeling with pastoral scenery. After the first feature film, Hou Mai turned his main position to the carefully selected pastoral stage. As a director who vigorously discusses the emotional relationship between men and women, his pure background will undoubtedly provide him with more convincing results. Other directors, such as Bresson, also came to work in the countryside during this period. 2 Politics The political tide in the late 1960s swept the world, and French political films could not compare with her European neighbor Italy in terms of quality and quantity. During this period, the most dazzling French political films were made by Greek immigrants to Gavlas. Gavlas tells the story of political intrigue and persecution by the authorities with relatively popular photography and messy editing style. By the 1970s, the level of French political films had improved, but they were generally shown in the form of genre films, taking advantage of the unique characteristics of French films at that time. For example, Innocent Rape, which reflects racial issues, uses rambling multi-line narration at different levels; Godard set up two shooting groups, "Wiltoff Group" and "Sound and Image", between the time when he temporarily left the feature film shooting because of a car accident and 1968, and expounded the joints of political issues in an abstract but strong tone and in a more flexible form. In the 1970s, 1 was exposed. In 1970s, France opened the scale of film shooting, which directly led to the emergence of a large number of erotic films. Just Jaeckin established himself in this trend with his works full of illusory temperament. His soft light application has reached the point of flooding, but it does artificially create a sweet feeling. Other directors, such as barbet schroeder, who is naturally exposed to controversy, even took advantage of public opportunities to launch works with the theme of sadomasochism, so as to realize the previously banned plan. Generally speaking, French directors' interest in nudity stops at maintaining the credibility of the role relationship. 2 Children of the New Wave Among the directors who debuted in the 1970s, several directors are inextricably linked with the New Wave. They are students with different efforts in the new wave. Claude miller used to be Truffaut's assistant director and was sometimes regarded as Truffaut's successor. In his works, he repeatedly reminds us to reflect on the neglected truth of life and gently awakens our ignorance of the rules of the game. Andre Tessene, who entered the film handbook in the 1960s, described the process of young people's transformation with elegant brushstrokes. The mentality and techniques of these directors are generally soft.