History
The term was first coined by Henri Chomette. The goal of the movement was to create a cinema that focused on the pure elements of film like motion, visual composition, and rhythm. It was begun by European filmmakers René Clair, Fernand Léger, Hans Richter, Viking Eggeling and others. They sought to accomplish their goal by minimizing story and plot, focusing instead on visual concerns by using close-ups, dolly shots, montage, lens distortions, and other cinematic techniques. Films like Ballet Mécanique, Symphony Diagonale, and The Symphony of a Great City projected rhythm and motion in the title of the films and the works themselves. In addition to close-ups, other filmmaking techniques were used to create rhythm and visual interest. They include fast and slow motion, trick shots, stop-action cinematography and dynamic cutting.
The clearest examples of pure cinema are said by essayist and filmmaker Hubert Revol to be documentaries.
Documentary must be made by poets. Few of those within French cinema have understood that in our country, we possess innumerable elements and subjects to make, not just insignificant ribbons (of film), but splendid films lively and expressive... The purest demonstration of pure cinema, that is to say of poetry which is truly cinematographic, has been provided us by some remarkable films, vulgarly called documentaries, particularly Nanook and Moana.
— Herbert Revol, filmmaker and essayist
Read more about this topic: Pure Cinema
Famous quotes containing the word history:
“When the landscape buckles and jerks around, when a dust column of debris rises from the collapse of a block of buildings on bodies that could have been your own, when the staves of history fall awry and the barrel of time bursts apart, some turn to prayer, some to poetry: words in the memory, a stained book carried close to the body, the notebook scribbled by hand—a center of gravity.”
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