Film d'art
In this article, we will explore the theme of Film d'art from a unique and novel perspective. Film d'art is a topic that has captured the attention of many in recent years, and through this writing, we propose to analyze it in depth. From its origins to its impact on today's society, through its possible implications in the future, we will immerse ourselves in an exhaustive analysis that seeks to shed light on all the relevant aspects of Film d'art. To do this, we will have the collaboration of experts in the field, as well as testimonies from people who have closely experienced the influence of Film d'art in their lives. We are sure that this article will provide a complete and enriching vision of a topic that continues to generate debate and fascination today.
 A still from La Dame aux Camélias (1911) by Albert Capellani, with actress Sarah Bernhardt. | |
| Years active | Late 1900s–early 1910s |
|---|---|
| Location | France |
| Major figures | |
| Influences | French theatre |
| Influenced | Narrative cinema |
Film d'art (French for "art film") was an influential film movement or genre that developed in France prior to World War I and began with the release of L'Assassinat du duc de Guise (1908), directed by Charles Le Bargy and André Calmettes of the Comédie Française for the Société Film d'Art, a company formed to adapt prestigious theatre plays starring famous performers to the screen. The success of L'Assassinat du duc de Guise inspired other companies to make similar films, initiating the film d'art movement. Among them were Pathé, which started a film d'art division called Société Cinématographique des Auteurs et des Gens de Lettres (SCAGL). Examples of films d'art include Calmettes's La Duchesse de Langeais (1910) and La Dame aux Camélias (1912), and Albert Capellani's Notre-Dame de Paris (1911) and Les Misérables (1913).
The movement was the most serious attempt to relate cinema to forms of high culture such as literature and theater, since up to that time cinema was seen as a simple popular entertainment characterized by spectacle. Despite its high intellectual aspirations, film d'art was characterized by its limited narrative execution, as the works were simply filmed theatrical productions. Despite its technical limitations and short-lived popularity, the movement was highly influential and instrumental in the rise of feature films and narrative cinema, as opposed to the cinéma d'attractions (English: "cinema of attractions"). The movement created a demand for more developed storylines and greater production values, and also made the practice of listing credits more widespread, as they advertised the presence of well-known stage actors. The influence of film d'art resulted in the birth of narrative cinema in other countries, as in the case of Argentina with the work of Mario Gallo.
References
- ^ a b c d "History of film: The silent years, 1910–27". Encyclopædia Britannica. Retrieved 1 February 2024.
- ^ a b c d "Film d'art". Adapted from Historical Dictionary of French Cinema by Dayna Oscherwitz & Mary Ellen Higgins. Guide to cinema. Academic. 2011. Retrieved 1 February 2024.
{{cite web}}: CS1 maint: others (link) - ^ Mahieu, José Agustín (1966). Breve historia del cine argentino (in Spanish). Buenos Aires: Editorial Universitaria de Buenos Aires. p. 6.
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