PURE CINEMA

'Pure Cinema' is the film theory that a movie maker can create a more emotionally intense experience using autonomous film techniques, as opposed to using stories, characters, or actors.
Unlike nearly all other fare offered via celluloid, pure cinema rejects the link and the character traits of artistic predecessors such as literature or theatre. Rather than seeing film as part of an evolutionary continuum, it declares cinema to be its own unique art form that should not borrow from any other. As such, "pure cinema" is made up of nonstory, noncharacter films that convey abstract emotional experiences through unique cinematic devices such as montage (the Kuleshov Effect), camera movement and camera angles, sound-visual relationships, super-impositions and other optical effects, and visual composition.
Great examples of pure cinema are Dziga Vertov's ''The Man with the Movie Camera'', Ron Fricke's ''Baraka'', Arthur Lipsett's short ''21-87'', Jean-Claude Labrecque's cinema verite ''60 Cycles'', Bruce Connor's ''A Movie'', Stan Brakhage's ''Dog Star Man'', George Lucas's ''6-18-67'' and '' and ''Herbie'', Jordan Belson's ''Allures'' and ''Phenomena'' and ''Fountain of Dreams'', Godfrey Reggio's ''Koyaanisqatsi'', Leni Riefenstahl's ''Triumph of the Will'' and ''Olympia'', and Slavko Vorkapich and John Hoffman's ''Moods of the Sea'' and ''Forest Murmurs''.
For the French avant-garde film movement of the 1920s and 30s, see Cinema pur.

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References

References

★ ''Film Technique'' by Pudovkin, Vsevolod

★ ''Hitchcock/Truffaut''

★ ''George Lucas Interviews''

★ ''Filmic Expression'' by Novros, Les

★ ''Germaine Dulac : 1882 - 1942'' Ford, Charles Paris : avant-scene du Cinema, 1968, 48 p.

★ ''Germaine Dulac IMDb bio'', Yates, Daniel