Bordwell and Thompson - Film History - An Introduction (4th Edition) - Chapter 4

French film production experienced a drastic decline during WWI due to resource allocation for the war effort.
Post-war, only 20-30% of films screened in France were French; American films dominated the market.
French companies struggled to produce films, releasing fewer than 100 features annually, while the U.S. produced 500+.

The influx of imported films (primarily American) was a major issue.
Despite a decline in American films in the mid-to-late 1920s, other countries like Germany and Great Britain gained market share at a faster pace.
The domestic market in France was too small for films to recuperate production costs without exportation.
Very few French films found success abroad, and the American market was largely closed to them.
French filmmakers relied on exchanges with culturally similar areas like Belgium and French colonies.

The lack of an oligopoly led to conflicts between production firms, exhibitors, and distributors.
Major firms like Pathé and Gaumont owned only 10-15% of French cinemas.
Independent theater owners favored cheaper American films which reduced the demand for domestic productions.
Efforts by producers for governmental intervention to limit imports were largely unsuccessful.
High ticket taxes (6-40%) further hindered all levels of the industry, hampering earnings and production opportunities.

French producers relied on pre-war glass studios, lacking investment to update facilities.
Absence of capital investment hindered technological advancements in lighting compared to American studios.
French filmmakers traditionally used sunlight for lighting; American filmmakers utilized artificial lighting for effects, creating a stark difference in production quality.

Though experiencing crises, the French industry produced a variety of films: serials, historical epics, fantasy films, and comedies.
Popular serials returned themes of crime but shifted towards sentimental narratives.
Prominent figures included Louis Feuillade (Tih Minh), Henri Diamant-Berger, and filmmakers focusing on historical epics and fantasies.
René Clair was a key figure in fantasy films, with innovative techniques like freeze frames and unmoving actors.

Between 1918 and 1929, a new wave of filmmakers sought to establish cinema as a legitimate art form, leading to the Impressionist movement.
Impressionism aimed for pictorial beauty and psychological depth in films.
Directors like Abel Gance, Germaine Dulac, and Jean Epstein explored personal expressions through film.
The movement faced challenges due to industrial crises but thrived on innovation and experimentation.

Abel Gance: Gained prominence with La Dixième symphonie (1918), blending music and visual expression.
Marcel L’Herbier and Jean Epstein produced significant works that highlighted symbolic and revolutionary narratives.
Directors balanced avant-garde projects with commercially viable films to maintain their artistic pursuits.

The Impressionists diverged from traditional narratives, focusing on emotions and psychological motivations.
Use of visual rhythm became a hallmark, emphasizing the subjective experience of characters.
Emphasized techniques such as superimpositions, POV shots, and a focus on character subjectivity rather than mere action.

By the mid-1920s, new filmmakers adopted Impressionist techniques, diffusing their uniqueness.
Financial pressures and the industry’s consolidation contributed to a decline.
The arrival of sound cinema presented additional challenges, making it harder for Impressionist filmmakers to compete and maintain independent productions.

The Impressionist movement had a lasting impact on cinema, influencing international filmmakers and reshaping narrative and visual storytelling.
Despite the challenges faced within the filmmaking industry, the innovations and artistic expressions of the Impressionist movement provided a significant contribution to film as an art form.