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Cinéma pur
''Cinéma Pur'' (French for ''Pure Cinema'') was an avant-garde film movement begun by filmmakers, like René Clair, who "wanted to return the medium to its elemental origins" of "vision and movement."〔Frank Eugene Beaver. ''(Dictionary of Film Terms: The Aesthetic Companion To Film Art )''. Peter Lang; 2006 (13 September 2012 ). ISBN 978-0-8204-7298-0. p. 23.〕
==History==
The term was first coined by Henri Chomette. The goal of the movement was to create a cinema that focused on the pure elements of film like motion, visual composition, and rhythm. It was begun by European filmmakers René Clair, Fernand Léger, Hans Richter, Viking Eggeling and others. They sought to accomplish their goal by minimizing story and plot, focusing instead on visual concerns by using close-ups, dolly shots, montage, lens distortions, and other cinematic techniques. Films like ''Ballet Mécanique'', ''Symphony Diagonale'', and ''The Symphony of a Great City'' projected rhythm and motion in the title of the films and the works themselves. In addition to close-ups, other filmmaking techniques were used to create rhythm and visual interest. They include fast and slow motion, trick shots, stop-action cinematography and dynamic cutting.〔Frank Eugene Beaver. ''(Dictionary of Film Terms: The Aesthetic Companion To Film Art )''. Peter Lang; 2006 (13 September 2012 ). ISBN 978-0-8204-7298-0. pp. 23-24, 39.〕
The clearest examples of pure cinema are said by essayist and filmmaker Hubert Revol to be documentaries.〔Ian Aitken. ''(European Film Theory and Cinema: A Critical Introduction )''. Indiana University Press; 1 January 2002 (14 September 2012 ). ISBN 978-0-253-34043-6. p. 72.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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