Pure movie

Pure cinema - (French: Cinéma Pur) - is an avant-garde cinema movement started by filmmakers such as Rene Claire , who sought to return the cinema to its elementary units of vision and movement.

This term was first coined by Heinrich Chomett. The purpose of the movement was to create a movie focused on the elements of the film, which are not borrowed, but are inherent only in the cinema as its main features: movement, visual composition and rhythm. The founders of the direction were European filmmakers Rene Claire, Fernand Leger , Hans Richter , Viking Eggeling, Walter Ruttman and others. They sought to achieve their goal by minimizing the story and plot, instead focusing attention on visual issues using close-ups, editing, and other cinematic techniques. Films such as Mechanical Ballet, Diagonal Symphony, and Berlin: The Great City Symphony determine the rhythm and movement in the name of the films themselves. In addition to close-ups, other cinema techniques were used to create rhythmic and visual interest. They include fast and slow action, special effects, stop-action and dynamic cutting of frames. ^[one]

The Dadaists saw in cinema an opportunity to transcend “history”, ridicule “character”, “staging” and “plot” as bourgeois conventions, eliminate causality, using the inherent dynamism of the film to refute the Aristotelian concepts of time and space. The movement is described in the work of the feminist critic and cinema director Germain Dulac , whose goal is called “pure” cinema, free from any influence of literature, stage or even other visual arts. ^[one]

It is declared that cinema is its own and independent form of art, which should not borrow the techniques of other arts. Thus, pure cinema consists of experimental films that convey abstract emotional experiences using unique cinematic techniques, such as editing ( Kuleshov effect ), camera movement and shooting angle, sound-visual relationships, superposition and other optical effects and visual composition. ^[one]

Chomette adjusts the speed of the film and shoots from different angles to capture the abstract patterns in his 1925 film, The Game of Reflections and Speed, to capture the camera. His film, made the following year, "Five Minutes of a Pure Cinema," reflected a more minimal and formal style. ^[2] Germain Dulac and her idea of ​​“pure cinema” inspired the French direction of pure cinema. Her films Theme and Variations and Disc, filmed in 1928, are illustrations of her position. ^[2]

Man Ray also created a series of influential short avant-garde short films: Return to the Beginning (2 minutes, 1923); Emak-Bakiya (16 min, 1926); "Starfish" (15 min, 1928). Man Ray also helped Marcel Duchamp with his film Anemic Cinema (1926), and Fernand Leger with Mechanical Ballet (1924).