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does not record it, and a filmmaker cannot simply point it out. As Aitken summarizes, "…fully realized photogénie could only be manifested when its latent power was employed to express the vision of the film-maker, so that the inherent poetry of the cinema could be harnessed, and developed in a revelatory manner by the auteur". However, the narrative avant-garde lacked a theoretical and philosophical base upon which these notions rest and thus the concept of photogénie is always on the edge of an inexplicable mysticism that many critics cannot accept.
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explores the perception of the reality, and does so through two main concepts: subjectivity and photogénie. Neither of these terms is easily explainable, if at all, but that is part of the point — for these filmmakers explored an unattainable understanding that can only be reached for. French impressionism destabilized familiar or objective ways of seeing, creating new dynamics of human perception. Using strange and imaginative effects, it altered traditional views and aimed to question the norm of the film industry at the time.
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that posit a realm beyond matter and our immediate sense experience that art and the artist attempt to reveal and express. Bordwell goes on to point out the massive holes in this theorization, that the true nature of reality and experience are never established. Holes aside, the narrative avant-garde
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However, even Marcel L’Herbier, one of the chief filmmakers associated with the movement, admitted to an ununified theoretical stance: "None of us – Dulac, Epstein, Delluc or myself – had the same aesthetic outlook. But we had a common interest, which was the investigation of that famous cinematic
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Photogénie occurs at the meeting of the profilmic (what is in front of the camera) and the mechanical and the filmmaker. It is above all a defamiliarization of the spectator with what appears on screen. It is a property that cannot be found in "reality" itself, a camera that is simply switched on
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Richard Abel's re-evaluation of
Bordwell's analysis sees the films as a reaction to conventional stylistic and formal paradigms, rather than Bordwell's resemblance model. Thus Abel refers to the movement as the Narrative Avant-Garde. He views the films as a reaction to narrative paradigm found in
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commercial filmmaking, namely that of
Hollywood, and is based on literary and generic referentiality, narration through intertitles, syntactical continuity, a rhetoric based on verbal language and literature, and a linear narrative structure, then subverts it, varies it, deviates from it.
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Through the properties noted above in
Bordwell's stylistic paradigm, filmmakers sought to portray the internal state of the character or characters and in some of the later and more complex films attempt to bring the audience into the equation as subjective participant.
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The movement is also often credited with the origins of film criticism and Louis Delluc is often cited as the first film critic. The movement published journals and periodicals reviewing recent films and discussing trends and ideas about cinema.
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Cine-clubs were also formed by filmmakers and enthusiasts, which screened hand picked films: select
American fare, German and Swedish films, but most often films made by the members of the clubs themselves.
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The narrative avant-garde did have a theoretical base, although its divergent articulation by different writer-filmmakers has confused the issue to a certain extent. Much of it is an extension of
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Pictorialism (beginning in 1918): made up of films that focus mainly on manipulation of the film as image, through camerawork, mise-en-scene, and optical devices.
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Film scholars have had much difficulty in defining this movement or for that matter deciding whether it should be considered a movement at all.
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would struggle with awarding any credibility at all as "movement".
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155:) refers to a group of French films and filmmakers of the 1920s.
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European Film Theory and
Criticism: A Critical Introduction
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Temporal relations between shots (Flashback or fantasy)
528:. Edinburgh: Edinburgh University Press. p. 82.
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Based on David
Bordwell's family resemblance model:
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397:specificity. On this we agreed completely."
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501:. New Jersey: Princeton University Press.
486:. New Jersey: Princeton University Press.
106:Learn how and when to remove this message
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484:French Cinema: The First Wave 1915–1929
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44:adding citations to reliable sources
1380:Réalisation d'art cinématographique
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174:Filmmakers and films (selection)
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514:, pp. 270–292, Appendix B.
372:Characteristic editing patterns
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1831:First Impressionist Exhibition
229:The Fall of the House of Usher
134:The Fall of the House of Usher
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1997:Marc-Aurèle de Foy Suzor-Coté
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467:Bordwell, David (1980).
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2007:Helen Galloway McNicoll
1858:Frederick Carl Frieseke
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471:. New York: Arno Press.
359:As pictorial decoration
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482:Abel, Richard (1984).
263:La Femme de nulle part
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2012:James Wilson Morrice
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1350:Les Films du Poisson
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524:Aitken, Ian (2001).
185:La Dixième symphonie
137:(1928), directed by
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2287:Movements in cinema
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1987:William Blair Bruce
1774:Gustave Caillebotte
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1360:Medialab Technology
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1448:Louis Delluc Prize
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1866:
1864:
1863:Childe Hassam
1861:
1859:
1856:
1854:
1851:
1850:
1848:
1846:
1838:
1832:
1829:
1828:
1826:
1822:
1816:
1813:
1811:
1810:Georges Petit
1808:
1806:
1803:
1802:
1800:
1796:
1790:
1787:
1785:
1782:
1780:
1777:
1775:
1772:
1771:
1769:
1765:
1760:
1750:
1749:Alfred Sisley
1747:
1745:
1742:
1740:
1737:
1735:
1732:
1730:
1727:
1725:
1724:Édouard Manet
1722:
1720:
1717:
1715:
1712:
1710:
1707:
1705:
1702:
1700:
1697:
1695:
1692:
1690:
1689:Eugène Boudin
1687:
1685:
1682:
1681:
1679:
1675:
1671:
1669:Impressionism
1662:
1657:
1655:
1650:
1648:
1643:
1642:
1639:
1627:
1624:
1622:
1621:Cinema chains
1619:
1617:
1614:
1612:
1609:
1607:
1604:
1603:
1601:
1597:
1591:
1588:
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1578:
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1568:
1566:
1563:
1561:
1558:
1557:
1555:
1551:
1545:
1542:
1540:
1537:
1535:
1534:Screenwriters
1532:
1530:
1527:
1525:
1522:
1520:
1517:
1515:
1512:
1510:
1507:
1505:
1502:
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1423:
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1417:
1411:
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1401:
1398:
1396:
1393:
1391:
1388:
1386:
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1381:
1378:
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1373:
1371:
1368:
1366:
1363:
1361:
1358:
1356:
1353:
1351:
1348:
1346:
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1341:
1338:
1336:
1333:
1331:
1328:
1326:
1323:
1321:
1318:
1316:
1313:
1311:
1308:
1306:
1303:
1301:
1298:
1296:
1293:
1291:
1288:
1286:
1285:Æternam Films
1283:
1281:
1278:
1277:
1275:
1273:
1267:
1262:
1252:
1251:
1247:
1245:
1244:
1240:
1238:
1237:
1233:
1231:
1228:
1226:
1223:
1221:
1218:
1216:
1213:
1211:
1208:
1206:
1203:
1201:
1198:
1196:
1193:
1191:
1188:
1186:
1183:
1181:
1178:
1176:
1173:
1171:
1168:
1166:
1163:
1161:
1158:
1156:
1153:
1151:
1148:
1146:
1143:
1141:
1138:
1136:
1133:
1131:
1128:
1126:
1123:
1121:
1118:
1116:
1113:
1111:
1108:
1106:
1103:
1101:
1098:
1096:
1093:
1091:
1088:
1086:
1083:
1081:
1078:
1076:
1073:
1071:
1068:
1066:
1063:
1061:
1058:
1056:
1053:
1051:
1048:
1046:
1043:
1041:
1038:
1036:
1033:
1031:
1028:
1026:
1023:
1021:
1018:
1016:
1013:
1011:
1008:
1006:
1003:
1001:
998:
996:
993:
991:
988:
986:
983:
981:
978:
976:
973:
971:
968:
966:
963:
961:
958:
956:
953:
951:
948:
946:
943:
941:
938:
936:
933:
931:
928:
926:
923:
921:
918:
916:
913:
911:
908:
906:
903:
901:
898:
896:
893:
891:
888:
886:
883:
881:
878:
876:
873:
871:
868:
866:
863:
861:
858:
856:
853:
851:
848:
846:
843:
841:
838:
836:
833:
831:
828:
826:
823:
821:
818:
816:
813:
811:
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806:
803:
801:
798:
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793:
791:
788:
786:
783:
781:
778:
776:
773:
771:
768:
766:
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761:
758:
756:
753:
751:
748:
746:
743:
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738:
736:
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731:
728:
726:
723:
721:
718:
716:
713:
711:
708:
706:
703:
701:
698:
696:
693:
691:
688:
686:
683:
681:
678:
676:
673:
671:
668:
666:
663:
661:
658:
656:
653:
652:
650:
647:
642:
641:Films by year
638:
632:
629:
627:
624:
623:
620:
616:
602:
597:
595:
590:
588:
583:
582:
579:
572:
565:, p. 82.
564:
559:
556:
552:
551:Bordwell 1980
547:
544:
540:
535:
532:
527:
520:
517:
513:
512:Bordwell 1980
508:
505:
500:
493:
490:
485:
478:
475:
470:
463:
460:
453:
451:
444:
442:
436:
433:
431:
428:
425:
417:
415:
411:
404:
402:
398:
391:
382:
379:
376:
375:
373:
370:
364:
361:
358:
355:
352:
349:
348:
346:
343:
337:
334:
331:
330:
328:
327:Mise-en-scene
325:
319:
316:
313:
312:
310:
307:
306:
304:
298:
293:
290:
287:
286:
283:Periodization
282:
277:
276:
271:
268:
265:
264:
259:
256:
253:
249:
246:
243:
242:
237:
234:
231:
230:
225:
221:
217:
216:
211:
208:
205:
204:
199:
198:
193:
192:
187:
186:
181:
178:
177:
173:
171:
169:
168:Dudley Andrew
165:
161:
156:
154:
150:
146:
140:
136:
135:
110:
107:
99:
88:
85:
81:
78:
74:
71:
67:
64:
60:
57: –
56:
52:
51:Find sources:
45:
41:
35:
34:
29:This article
27:
23:
18:
17:
2243:
2165:
2065:Eva Gonzalès
1950:John Russell
1729:Claude Monet
1704:Paul CĂ©zanne
1699:Mary Cassatt
1569:
1428:CĂ©sar Awards
1290:Ariane Films
1248:
1241:
1234:
631:World cinema
558:
546:
534:
525:
519:
507:
498:
492:
483:
477:
468:
462:
448:
439:
435:Subjectivity
421:
412:
408:
399:
395:
371:
344:
326:
308:
302:
273:
261:
258:Louis Delluc
251:
239:
227:
226:, 1928, and
223:
219:
215:Coeur fidèle
213:
210:Jean Epstein
201:
195:
189:
183:
164:Richard Abel
157:
152:
148:
144:
143:
139:Jean Epstein
132:
102:
93:
83:
76:
69:
62:
50:
38:Please help
33:verification
30:
2251:Louis Leroy
2149:Other media
2125:Max Slevogt
2100:Henry Moret
1945:Tom Roberts
1824:Exhibitions
1709:Edgar Degas
1677:Originators
1400:StudioCanal
1272:and studios
646:Films (A–Z)
563:Aitken 2001
270:Jean Renoir
2276:Categories
2161:Literature
1982:Henri Beau
1914:Australian
1611:Box office
1565:Cinéma pur
1460:(formerly
1410:Wild Bunch
1315:EuropaCorp
454:References
445:Photogénie
309:Camerawork
180:Abel Gance
66:newspapers
1626:Unifrance
1539:Producers
1509:Directors
1504:Animators
1492:Personnel
1390:Sofracima
1335:Francinex
1310:Def2shoot
1305:Ciby 2000
655:1892–1909
539:Abel 1984
424:Symbolist
405:Criticism
252:El Dorado
2175:See also
1971:Canadian
1842:American
1553:Movement
1385:Sciapode
1325:Folimage
222:, 1927,
218:, 1923,
203:Napoléon
194:, 1919,
191:J’Accuse
188:, 1918,
96:May 2024
2231:Related
2222:The Ten
2033:artists
1973:artists
1916:artists
1844:artists
1798:Dealers
1767:Patrons
1524:Editors
1519:Critics
1340:Gaumont
427:poetics
278:, 1926)
266:, 1922)
254:, 1921)
244:, 1922)
232:, 1928)
206:, 1927)
197:La Roue
80:scholar
1499:Actors
1420:Awards
418:Theory
82:
75:
68:
61:
53:
2256:Nadar
2156:Music
2031:Other
1599:Other
1370:Pathé
335:DĂ©cor
87:JSTOR
73:books
1375:PMMP
1250:2027
1243:2026
1236:2025
1230:2024
1225:2023
1220:2022
1215:2021
1210:2020
1205:2019
1200:2018
1195:2017
1190:2016
1185:2015
1180:2014
1175:2013
1170:2012
1165:2011
1160:2010
1155:2009
1150:2008
1145:2007
1140:2006
1135:2005
1130:2004
1125:2003
1120:2002
1115:2001
1110:2000
1105:1999
1100:1998
1095:1997
1090:1996
1085:1995
1080:1994
1075:1993
1070:1992
1065:1991
1060:1990
1055:1989
1050:1988
1045:1987
1040:1986
1035:1985
1030:1984
1025:1983
1020:1982
1015:1981
1010:1980
1005:1979
1000:1978
995:1977
990:1976
985:1975
980:1974
975:1973
970:1972
965:1971
960:1970
955:1969
950:1968
945:1967
940:1966
935:1965
930:1964
925:1963
920:1962
915:1961
910:1960
905:1959
900:1958
895:1957
890:1956
885:1955
880:1954
875:1953
870:1952
865:1951
860:1950
855:1949
850:1948
845:1947
840:1946
835:1945
830:1944
825:1943
820:1942
815:1941
810:1940
805:1939
800:1938
795:1937
790:1936
785:1935
780:1934
775:1933
770:1932
765:1931
760:1930
755:1929
750:1928
745:1927
740:1926
735:1925
730:1924
725:1923
720:1922
715:1921
710:1920
705:1919
700:1918
695:1917
690:1916
685:1915
680:1914
675:1913
670:1912
665:1911
660:1910
275:Nana
59:news
260:– (
151:or
42:by
2278::
1660:e
1653:t
1646:v
1464:)
648:)
644:(
600:e
593:t
586:v
272:(
250:(
238:(
212:(
182:(
147:(
109:)
103:(
98:)
94:(
84:·
77:·
70:·
63:·
36:.
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