I-cinema yaseFrance akuyona nje ifilimu enethonya, cishe iyi-DNA yobuciko besikhombisa.Amadoda amabili aseFrance, abafowabo bakaLumière, anikeza uphawu lokuqala ebhayisikobho. ifilimu yokuqala emlandweniKusukela ngaleso sikhathi, iFrance ibilokhu ihilelekile cishe kuzo zonke izinguquko ezinkulu zebhayisikobho: kusukela kumafilimu athule kuya ku-Nouvelle Vague, kusukela kumafilimu aqophayo anamandla kakhulu kuya kumafilimu esimanje agcwele imikhosi. Noma ubani ohlola amafilimu ayo uzothola umlando omkhulu… kodwa othakazelisayo.
Ukukhetha amafilimu aseFrance amahle kakhulu, empeleni, kufana nokwenza uhlu lwamafilimu amahle kakhulu emlandweni.Ukuze siqinisekise ububanzi obukhulu ngangokunokwenzeka, sikhethe indlela engathandeki kodwa ephumelela kakhulu: kufaka phakathi ifilimu eyodwa kuphela kumqondisi ngamunye. Ngenkathi abanye abenzi bamafilimu benemisebenzi eminingana ebalulekile emlandweni, ukuzikhawulela komunye kumqondisi ngamunye kuvumela imephu ehlukahlukene yezinhlobo, izitayela, kanye nezinkathi, kusukela kuma-classics athule kuya kuma-cinema anamuhla ahlaba umxhwele kakhulu.
Ama-classics abalulekile e-cinema yaseFrance
Uma sikhuluma ngebhayisikobho yakudala yesiFulentshi, sikhuluma ngamatshe ayisisekelo olimi lwebhayisikobho.Amagama amakhulu njengo-Abel Gance, uDreyer noma uRenoir abeka isisekelo sendlela yokuqopha ama-epic, imizwa eyeqisayo noma izindaba eziphikisana nempi ezisaqhubeka nokuthonya nanamuhla.
I-"Napoleon" ka-Abel Gance ingaphezu nje kwefilimu; iyifilimu enkulu yomlando efanele umlingiswa ewubonisayo.Le filimu engakhulumi ithatha amahora angaphezu kwamahlanu ibe yimpi kanye nendaba enkulu yezepolitiki, ihlanganisa izinto ezintsha zobuchwepheshe ezishintshayo zesikhathi sayo kanye nomuzwa omkhulu wokubukwa. Ukuvuselelwa kwayo kube yindaba eyenzeka njalo, izama ukwakha kabusha, ngendlela engcono kakhulu, umbono omkhulu uGance ayewucabanga.
Incwadi kaCarl Theodor Dreyer ethi "The Passion of Joan of Arc" isebenza ngendlela efanayo yokufisa.Ifilimu evelele, nakuba ingumsebenzi womqondisi waseDenmark, yakha ingxenye ebalulekile yefa lefilimu laseFrance. UDreyer uphula imithetho ngokusebenzisa ukwakheka nokusebenzisa ubuso bukaMaria Falconetti eduze, eguqula icala likaJoan of Arc libe yinto ecishe ibe yimfihlakalo. Isiteji sakhe kanye nokusebenzisa kwakhe ukuthula kanye nokuveza ubuso kwachaza ulimi olusha olubonakalayo lokumelela okungokomoya nokudabukisayo.
I-“L'Atalante” kaJean Vigo ingenye igugu elingenakuphikwa, elizungezwe yi-aura yenkoloUVigo washona esemncane kakhulu futhi wahluleka ukuqopha ifilimu, kodwa le ndaba ebekwe esikebheni somfula yayanele ukushiya uphawu olukhulu. Ifilimu yakhe ihlanganisa ubuqiniso, ubuciko bokubhala, kanye nokuthinta kwe-surrealism okulindele ukufika kwezimbongi nabaculi abavelele kuma-cinema aseFrance, okuvula umnyango wezinhlobo ezintsha zokubonakaliswa okubonakalayo nokungokomzwelo.
Ku-"The Grand Illusion", uJean Renoir wethula esinye sezitatimende ezinkulu kakhulu zokulwa nempi zaso sonke isikhathi.Ifilimu eyenzeka ngesikhathi seMpi Yezwe Yokuqala futhi yakhululwa ngaphambi nje kokugqashuka kwe-Second, iveza izigaba zomphakathi, udumo lwezempi, kanye nobuzalwane phakathi kwezitha. Inhlanganisela yayo yobuntu, ukugxekwa, kanye nokudla okusemthethweni kwenze kwaba ifilimu yokuqala engeyona eyesiNgisi eqokelwe i-Academy Award for Best Picture, okuyingqophamlando yomlando we-cinema yaseFrance.
Incwadi kaJean Cocteau ethi "Beauty and the Beast" ithatha indaba yenganekwane yakudala ibe yizinkondlo ezibukwayo ezipheleleKunokuba lula njengezinye izinguqulo, uCocteau wakha uthando oluyinkimbinkimbi, olugcwele izimpawu kanye nesimo esifana nephupho. Izixazululo ezenziwe ngezandla, amaqhinga ekhamera, kanye nesiqondiso sobuciko kusalokhu kuyindaba ehlekisayo, kangangokuthi abaningi basabheka lokhu kuguqulwa njengenguqulo eqondile yendaba.
Ukuze kuqedwe lokhu kubuyekezwa okuvamile, incwadi ka-HG Clouzot ethi "The Wages of Fear" ibonisa indlela yokucindezela izinzwa zombukeli njengoba abanye abambalwa beke bakubona.Isekelwe encwadini kaGeorges Arnaud, indaba ilandela amadoda amaningana okumele athwale amaloli agcwele i-nitroglycerin emigwaqweni eyingozi. Amahora amabili okungabaza okubambekayo nokucinana, lapho ukungqubuzana ngakunye emgwaqweni kungasho ukufa, kwenza le filimu ibe yiklasi elihle kakhulu kuma-thrillers okuzijabulisa.
I-Auteur cinema kanye nenguquko ye-Nouvelle Vague
Uma kukhona indawo eyodwa lapho iFrance ibeke khona ijubane kusukela maphakathi nekhulu lama-20, yileyo yebhayisikobho yombhali.Ukuvela kwabadali abafana noBresson, uVarda, uTruffaut, uGodard, noRohmer kwashintsha unomphela indlela esiqonda ngayo abalingiswa, izindaba, kanye nobudlelwano phakathi kweqiniso nendaba eqanjiwe.
I-"Pickpocket" kaRobert Bresson imelela, njengabanye abambalwa, leso sitayela somqondisi esicwengekile, esicishe sibe yizithiyoNgemva komkhwabanisi, uBresson ugxila ekushukumeni okuncane kakhulu, izandla ezintshontshayo, ukuthula, kanye nokubuka. Amafilimu akhe asebenza cishe njengokuhlangenwe nakho okungokomoya, lapho ingqondo yangaphakathi yembulwa khona ngezenzo ezibonakala zilula, futhi lo msebenzi othile uye walingiswa futhi wafundwa ngenxa yokucasuka.
Ohlangothini oluvivinya kakhulu kukhona ingoma ka-Alain Resnais ethi "Last Year at Marienbad".Le filimu iyahlukana nanoma yisiphi isakhiwo sendaba yendabuko: isikhathi siyaphenduka, izinkumbulo ziyafiphala, futhi ingxoxo ibonakala sengathi ivela ephusheni. UResnais uphakamisa into eyingqayizivele ye-cinema, lapho umbukeli kufanele azinikele ekuphindaphindweni, ezikhaleni ezi-labyrinthine, kanye nokuhlola okungabonakali kwenkumbulo nesifiso.
U-Agnès Varda, omunye wabesifazane abambalwa abahlotshaniswa ne-Nouvelle Vague kusukela ekuqaleni kwayo, wakhanga kakhulu nge-“Cléo from 5 to 7”Ifilimu ilandela, cishe ngesikhathi sangempela, umculi osemusha elinde imiphumela yokuhlolwa kwezokwelapha okushintsha impilo. Kulolu hambo lwasemadolobheni oluya eParis, uVarda uhlanganisa iqiniso nenganekwane, ukubuka kanye nokuqonda, ebhala isithombe esicacile sobuthakathaka, ukufa, kanye nesidingo sokubalekela ubuntu umuntu abudlalayo empilweni.
Ngaphakathi kwendawo yonke kaTruffaut, i-"The Soft Skin" ivelele njengenye yezindlela zakhe ezicashile zokubonisa uthando nokungathembeki.Umqondisi ubonisa ukuzwela okungavamile ekubambeni imiqondo yothando lwangaphandle komshado, umuzwa wecala, ukukhohlisa, kanye nobuthakathaka bezibopho. Indaba yakhe ebonakala ilula incike ekuqondeni ulimi lwe-cinema ukuze iveze imizwa enamandla ngobuhle obungachazeki.
Ngakolunye uhlangothi, uJacques Demy waphakamisa umculo we-classic waya kwelinye izinga nge-"The Umbrellas of Cherbourg"Lapha, konke kuyaculwa; akukho ngxoxo ekhulunywayo, futhi imibala iqhuma esikrinini ngesitayela esihle kakhulu. Ngemuva kwalesi simo esikhangayo kukhona uthando oludabukisayo mayelana nothando olungenakwenzeka, ukuhlukana, kanye nezinqumo ezishintsha impilo. Umehluko phakathi kobumnandi bomculo kanye nobukhali bendaba kwenza kube yinto ebuhlungu kakhulu.
UJean-Luc Godard uphinde wadlala ezincwadini zesayensi ezixutshwe nefilimu ethi "Lemmy vs. Alphaville"Njengoba enezinsizakusebenza ezimbalwa kakhulu kanye nokuqoshwa kwefilimu endaweni eParis, uGodard wakha i-dystopia yesikhathi esizayo elawulwa ubuhlakani bokwenziwa, lapho umphenyi kufanele abhekane nedolobha elingenabo ubuntu. Umphumela uba umsebenzi ongenakulinganiswa oqeda izimiso zohlobo ngemibono emihle kanye nokuqonda okubucayi.
Emkhakheni webhayisikobho yobugebengu, i-"Le Samouraï" kaJean-Pierre Melville ichaza kabusha i-thriller yabadlali abadumile.U-Alain Delon udlala indima yokushaya cishe okuyisipoki, indoda engakhulumi kakhulu futhi enesigqi esiqinile, omkhuba wakhe uphazamiseka emdlalweni wokuphishekela nokukhaphela. Le filimu iguqula indaba yohlobo ibe yindlela yokuphila ngesizungu kanye nesiphetho, ngaphandle kokulahlekelwa ukucindezeleka kwefilimu ethokozisayo yaseFrance.
I-“Belle de Jour” iphawula elinye lamaphuzu avelele okubambisana phakathi kukaLuis Buñuel nemboni yamafilimu yaseFranceUmqondisi wase-Aragonese usebenzisa inkululeko yokudala enikezwa yindawo yaseFrance ukwakha indaba evusa inkanuko ngowesifazane oyisicebi osebenza endlini yezifebe ntambama. Le filimu ihlanganisa isifiso, imicabango, kanye nokugxekwa komphakathi nesitayela sikaBuñuel esingenakuphikwa, okuholela ezithombeni ezidumile kanye nokuphawula okubukhali ngokucindezelwa kanye nobuzenzisi.
Nge-“My Night at Maud’s”, u-Éric Rohmer uthatha isitayela sakhe sezingxoxo ezijulile kanye ne-mise-en-scène ebucayi aye endaweni yokucwenga.Le filimu ivele kakhulu ngesikhathi sobusuku obude, lapho inkolo, ukuziphatha, imibono, kanye nokukhangana ngokocansi kuxoxwa khona kalula. URohmer ubonisa ukuthi i-cinema ekhangayo ingenziwa ngezinto ezimbalwa kakhulu, uma nje abalingiswa kanye nengxoxo kuklanywe ngokucophelela.
Ngendlela enamandla kakhulu, i-"Possession" ka-Andrzej Zulawski imelela isici esibi kakhulu se-auteur cinema esiqoshwe eFrance.Le filimu iqala njengedrama yokuhlukana komshado futhi ngokushesha iphenduka isiphithiphithi sezinto ezesabekayo ngokwengqondo, ukwesaba, kanye nezici ezicishe zibe yi-Lovecraft. Ukusebenza kuka-Isabelle Adjani okungalawuleki nokubonakalayo sekuyinto ephawulekayo, futhi ifilimu ayinikezi zimpawu kumbukeli okhululekile.
Evala lesi sigaba esikhulu, incwadi kaKrzysztof Kieślowski ethi "Three Colors: Blue" iyingxenye yeqoqo elibalulekile lamabhayisikobho aseYurophu.Umqondisi wasePoland, ohlala eFrance, uhlanganisa indaba yosizi nenkululeko ngomlingiswa kaJuliette Binoche, ozama ukwakha kabusha impilo yakhe ngemuva kwenhlekelele. Ukusebenzisa kukaKieślowski umbala, umculo, kanye nama-ellips ukuhlola ingqondo yomlingiswa oyinhloko kunikeza izinga lokuthuthuka ngokomzwelo okwenze le filimu yaba yifilimu yakudala yesimanje.
Ibhayisikobho yanamuhla yaseFrance: amazwi amasha kanye nemibono emisha
Kusukela ngawo-1990 kuze kube namuhla, i-cinema yaseFrance ibilokhu iyilabhorethri eqhubekayo yemibonoIzizukulwane ezintsha zabenzi bamafilimu, kanye nababhali bakwamanye amazwe abathole indawo evundile eFrance, bakhiqize amafilimu andisa imingcele yendlela yokusakaza ngaphandle kokulahlekelwa umbono wemizwa nokugxekwa komphakathi.
U-Olivier Assayas, owayengumgxeki kanye nesazi esikhulu semidiya, waziphonsa ngekhanda ekucabangeni ngemishini yebhayisikobho kanye no-“Irma Vep”Le filimu ilandisa ngesiphithiphithi sokuqoshwa kwefilimu yaseFrance ezama ukwenza kabusha uchungechunge lwakudala oluthi "Les Vampires," olulandiswa ngamehlo omlingisi waseHong Kong odlalwa nguMaggie Cheung. Phakathi kokungezwani kwabasebenzi, ukungazethembi kobuciko, kanye nokungqubuzana kwamasiko, u-Assayas wethula ifilimu yakudala ehlola ubuwena, i-cinephilia, kanye nokungenzeki kokuthwebula i-cinema njengento ezinzile.
UClaire Denis uletha omunye wemibono ebucayi kakhulu neyinkimbinkimbi ngobudlelwano bomuntu siqu nge-"35 Shots of Rum"Kule filimu esondelene, umqondisi uhlola ubudlelwano phakathi kukababa ongumfelokazi nendodakazi yakhe njengoba ebhekene nethuba lokuzimela. Ngokusebenzisa izimpawu ezicashile, ukuthula, kanye nokunyakaza komzimba okuhleliwe, uDenis uhumusha ukuphazamiseka kwangaphakathi kwabalingiswa bakhe kube yisimo se-cinema, ngenkathi enikeza nombono wakhe obucayi ngefa lamakoloni kanye nobandlululo oluhlelekile.
UMia Hansen-Løve uziveza njengezwi eliyinhloko lekhulu lama-21 ngengoma ethi “Un amour de jeunesse (Uthando Lokuqala)”Le filimu ihlola umthelela wothando lokuqala lowesifazane osemusha empilweni yakhe eminyakeni edlule, ikhombisa ukuthi lobu buhlobo buzibumba kanjani izinqumo zakhe zesikhathi esizayo. UHansen-Løve usebenzisa isitayela esingokwemvelo kakhulu, esingachazwanga kahle esiye sathonya isizukulwane esisha sabaqondisi besifazane abanesifiso sezinqubo zangaphakathi zemizwa kanye nobudlelwano bomuntu siqu.
Phakathi kwezinhlelo ezibambisene manje okunzima ukuzihlukanisa nenkundla yaseFrance, i-"Amour" kaMichael Haneke ivelele ngokuqina kwayo ngokomzwelo.Le filimu ilandela umbhangqwana osukhulile ozinzile ngenxa yokugula okungazelelwe kwalona wesifazane. UHaneke, owaziwa ngokubuka kwakhe okubandayo nokuhlaziya imvelo yomuntu, ufinyelela ezingeni lokucasuka okunonya lapha, okuphoqa umbukeli ukuba abhekane nokwehla ngokomzimba nangokwengqondo, kanye nemingcele yokunakekelwa nobubele.
UPaul Verhoeven, omunye umqondisi wangaphandle owamukelwe yiFrance, ushaqisa izilaleli ngengoma ethi “Elle”Indaba igxile kumphathi, ngemuva kokuhlukunyezwa ngokocansi, onquma ukusingatha okwenzekile ngendlela ephikisana nezindinganiso ezivamile. Umqondisi waseDashi usebenzisa ithuba lokuntuleka kwemithetho evinjelwe eFrance ukuze aqhubekisele phambili inhlanganisela yakhe evamile yokucasula, ukuhlekisa, kanye nokuhlakanipha okuhlabayo, ethembele ku-Isabelle Huppert omuhle kakhulu ophethe ifilimu kusukela ekuqaleni kuze kube sekupheleni.
Kumabhayisikobho akamuva, i-"Portrait of a Lady on Fire" kaCéline Sciamma ithole indawo ehloniphekile ngokushesha.Le filimu ilandisa indaba yokuhlangana komdwebi nesoka eliyisikhulu elisencane athunywa ukuba alidlale esiqhingini esikude, ezweni lapho uthando phakathi kwabesifazane lungamukeleki emphakathini. I-Sciamma ihlola isifiso, ukubuka, kanye nenkumbulo ngokuzwela okungavamile, idala izithombe ezinhle ezithule ezihlala engqondweni yombukeli.
ULeos Carax uletha uhlangothi lwakhe oludlulele kakhulu nolwe-kamikaze ku-“Annette”Umculo we-pop-rock obhalwe futhi wabhalwa yiqembu iSparks, uhlanganisa i-melodrama, i-spectacle, kanye ne-awesome endabeni yosomahlaya ozimele, umculi we-opera, kanye nendodakazi yakhe enethalente elimangalisayo. UCarax ushintsha ithoni ngaphandle kwesixwayiso, esuka ehlaya aye ekwesabeni ngokomzwelo noma enhlekeleleni, edala umbukiso ongafani nanoma yimuphi omunye, okwazi ukuthakazelisa nokuphazamisa.
Ithonya lesinema yaseFrance ngale kwemingcele yalo
Ukubaluleka kwe-cinema yaseFrance akugcini nje emikhiqizweni yayo; futhi isebenza njengesiphephelo namandla ashukumisayo kubenzi bamafilimu abavela kwamanye amazwe.Lokhu sekuvele kubonwe ngoBuñuel, uKieślowski, uZulawski, uHaneke noma uVerhoeven, abaqondisi abathole eFrance imboni ezimisele ukubheja eziphakamisweni eziyingozi okungenzeka ukuthi azizange ziphumelele ezindaweni zabo zokuvela.
Lowo moya wokwamukela uvumele amabhayisikobho aseFrance ukuthi asebenze njengendawo yokuhlangana phakathi kwamasiko nemibono eyahlukeneAbantu basePoland, abaseSpain, abase-Austria, abaseDashi, nabanye abaningi bakwazile ukuthuthukisa imisebenzi eyisisekelo lapha, banikela, futhi, ngezinga elisha endaweni yesinema yaseFrance. Ukuhlanganiswa kokukhiqiza kuzwelonke kanye nemikhiqizo ebambisene yamazwe ngamazwe kwenze izwe laba ngelinye lamaziko ahamba phambili emhlabeni wesinema ye-auteur.
Ngaphezu kwalokho, amandla enethiwekhi yayo yemikhosi, izingobo zomlando zamafilimu, kanye nomagazini abakhethekile kudale isiko lamafilimu elinamandla kakhulu.Abagxeki abaphenduke abaqondisi, njengalabo be-Nouvelle Vague, sebebuyele emuva embonweni nasekusetshenzisweni kwe-cinema, futhi ngisho nanamuhla kuqhubeka kuvela amazwi amasha ahlanganyela ngqo naleli fa, kungakhathaliseki ukuthi aqhubeke nalo noma ahlubuke kulo.
Ngesikhathi esifanayo, amabhayisikobho aseFrance angene emithonjeni yezindaba ezilalelwayo nezibukelwayo emhlabeni wonke, ethonya ngisho nochungechunge lwethelevishini kanye nendlela okusondelwa ngayo izindaba eziqanjiwe zethelevishini.Ngenxa yamapulatifomu okusakaza kanye nababonisi, kuvuleke isikhala esikhula njalo sezindaba zohlobo lwesiFulentshi, amahlaya, ama-thriller kanye namadrama athunyelwa kalula, aqhutshwa udumo oluqoqwe eminyakeni eminingi yama-cinema asezingeni eliphezulu.
Noma ubani oqala ukujula emafilimini aseFrance amahle kakhulu uzozithola esesohambweni oluqala ku-avant-garde buthule kuya kumculo wesimanje onesibindi kakhulu.Kusukela kuma-melodrama aseduze kanye nama-thriller athakazelisayo kuya kuma-dystopia efilosofi, amahlaya amnandi, kanye nezithombe zabantu ezicashile, iFrance izisungulele kabusha ifilimu ngefilimu, ikhulu nekhulu leminyaka, futhi ifilimu yayo iwumthombo ongapheli wokuphefumulelwa yinoma yimuphi umthandi we-cinema ozimisele ukumangala kaninginingi.
