Cinema Pur
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High Quality Content by WIKIPEDIA articles! Cinéma Pur was an avant-garde film movement birthed in Paris in the 1920s and 30s. The term was first coined by Henri Chomette to define a cinema that focused on the pure elements of film like form, light, motion, visual composition, and rhythm, something he accomplished in his shorts Reflets de lumiere et de vitesse (1925) and Cinq minutes de cinema pur (1926). The movement included many Dada artists, such as Man Ray (Emak-Bakia, Return to Reason), René Clair (Entr'acte), Fernand Léger (Ballet Mécanique), Marc Allegret, Jean Gremillon, Dudley Mu...
High Quality Content by WIKIPEDIA articles! Cinéma Pur was an avant-garde film movement birthed in Paris in the 1920s and 30s. The term was first coined by Henri Chomette to define a cinema that focused on the pure elements of film like form, light, motion, visual composition, and rhythm, something he accomplished in his shorts Reflets de lumiere et de vitesse (1925) and Cinq minutes de cinema pur (1926). The movement included many Dada artists, such as Man Ray (Emak-Bakia, Return to Reason), René Clair (Entr'acte), Fernand Léger (Ballet Mécanique), Marc Allegret, Jean Gremillon, Dudley Murphy, and Marcel Duchamp (Anemic Cinema). The movement also encompasses the work of the feminist critic/filmmaker Germaine Dulac, particularly The Seashell and the Clergyman, La Souriante Madame Beudet, Disque 957, and Cinegraphic Study of an Arabesque. In these as well as in her theoretical writing, Dulac's goal was "pure" cinema, free from any influence from literature, the stage, or even the other visual arts
