French Impressionist Cinema - Filmmakers and Films (greatly Abridged)

Filmmakers and Films (greatly Abridged)

Abel Gance (La Dixième symphonie (1918), J’Accuse (1919), La Roue (1922), and above all, Napoléon (1927))

Jean Epstein (Coeur fidèle (1923), Six et demi onze (1927), La Glace a Trois Face (1928), The Fall of the House of Usher (1928))

Germaine Dulac (The Smiling Madame Beudet (1922))

Marcel L'Herbier (El Dorado (1921))

Louis Delluc – Critic/Theorist

Jean Renoir - (Nana (1926))

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    The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.
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