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L Atalante: Dominant Theatrical Model Of French Cinema

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Considering that most of the French cinema had a dominant theatrical model due to its attribution to the powerful pact between actor and audience, “theater was a crutch that enabled sound cinema to hobble and then walk upright in France,” (Andrew pg. 104). A film that embellishes poetic realism is L’Atalante by Jean Vigo. “Père Jules… keeps relics from around the world in his Cabin,” he ‘enlivens’ the married couples life (Ezra pg. 109). In 1934 L’Atalante was one of four films that were sent to the Venice film festival. “French cinema of the 1930s has been called a theatrical display of nothing other than itself,” (Andrew pg. 107). Next, we see that between 1922-1943 the Italian commercial cinema had few foreign markets open to its products …show more content…

The Red Horses ‘was the first… melodrama.’ Then “in 1965 a new film law went into effect, giving financial support to the production of artistic films,” and it eventually became evident that all Danish film productions were dependent on state funding (Schepelern pg. 145). Just like Denmark, Sweden had a big home market during WWII, but suffered greatly after, causing the industry to suffer from labor disputes. Ingmar Bergman became the leading figure in Swedish cinema, influenced by “ the trends of contemporary theater…” (Schepelern pg. 148). In 1957 Bergman made The Seventh Seal that was hailed as a masterpiece and was set in medieval times and said that “it is a film about the fear of death. It is also a reflection on faith and death…” (Schepelern pg. 149). Bergman eventually moved away from religious themes focusing on the plight of the artist. Fanny and Alexander “was the epitome of his work, the embodiment of all his art, his themes, and his work with actors,” it was considered to be a monumental film (Schepelern pg. 155). Even after the recent attention to Scandinavian cinema, Bergman is still considered to be one of its classical masters who influences lives on in the works of newer

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