Impressionism literature and symbolism literature are similar, both of which are formalistic literary schools; But there are also differences between them, mainly because Impressionists are opposed to expressing ideas by symbolic means and tend to describe feelings. Some poets, usually regarded as symbolism, are actually more inclined to impressionism. For example, the poem The Art of Poetry by Paul Welland, one of the leaders of symbolism, is not so much about symbolism as an impressionist declaration. Representative figure
French literary historians regard the Gongur brothers as the representatives of impressionism novels, while pierre loti, another French poet and novelist who is regarded as the representative of impressionism, indeed, some of his poems "capture the instant feelings and impressions" like impressionism painters, but not all of his works are like this. Some French writers in the 20th century were seriously influenced by Impressionism, and in some novels, only the vague pursuit of feeling and impression was left.
In some works by Wilde and others at the end of UK 19, impressionism tends to be obvious. 1912 ~1918 the imagist school composed of some British and American poets in London, like impressionism, emphasizes the description of sensory impressions, but they claim to pursue a "clear and tough" image. They think that the ambiguity and ambiguity of the image are the remnants of romanticism, so they attack with all their strength. However, the theoretical differences are sometimes difficult to detect in creative practice. For example, many works of American poets such as Imagist Ai Lowell, Xi doolittle and John Gauld Fletcher are inseparable from impressionist poetry.
The situation of German literature is similar, and literary historians can't confirm the impressionism schools with clear boundaries. Headed by Detlef von Lilinkeren, including Richard Daimer, Gustav Falk and others, they are considered to be the most obvious impressionism in Germany, but they emphasize on truthfully recording the poet's feelings and experiences of things, so they are close to naturalism. In addition, many poems, such as Hugo von Hofmannsthal and Arnold Holtz, have different degrees of impressionism.
representative works
Lady Agatha, poetry, etc. /kloc-louis delluc, a French film creator in the 1920s, joined forces with a group of talented directors such as Abel Gance and Zhemin Drucker, as well as some film directors who had made achievements in commercial films, and wanted to reform the films made by film company owners for commercial reasons, so as to improve the declining French films after World War I ... But his efforts were not supported by the producers, and the movement failed after the death of Diluk in 1924. Some people take commercial films, others take the avant-garde road. Because some of Delluc's theories and creative ideas are closely related to the later French avant-garde film movement, most impressionist films are regarded as the prelude of avant-garde films or directly classified as avant-garde films.
His important works include The Wheel by Gunce (1922), Fever by Drucker (192 1) and Spanish Festival by Drucker (19 19). In France in the 1920s, avant-garde film directors ruled the whole French screen world. 19 17- 1928 in the past ten years, many film schools have appeared in the exploration of film aesthetics, which constitute an extremely complicated film cultural phenomenon and converge into an unprecedented film aesthetic movement. The pioneer movement of this film began with the exploration of impressionist film aesthetics. This school runs through the whole avant-garde film movement of 19 17- 1928.
Impressionist painting theory holds that the poetry of works comes from the original state of life. Under this aesthetic concept, impressionist masters insist on taking objective daily life and natural landscape as the object of artistic ontology. It can be said that impressionism painting school has become the most objective painting school in the 20th century. Based on this, Louis Delluc put forward the so-called "photogenic" in 1920. In fact, this is a declaration of applying impressionist aesthetics to film art. Impressionist movie master, in the reality of daily life and natural landscape, used the camera as a new artistic expression to explore the composition of an accidental phenomenon-instantaneous phenomenon, trying to capture the morphological characteristics of air, sunshine, flowing rivers and things that change instantly in daily life scenes. This is a creative method based on objectivity, looking for creative means that can create dreams/endow reality with poetry from real life. Therefore, all objectivity is impressionistic subjectivity. Impressionist filmmakers pursue the feelings and sentiments as creators in real life, and pursue the instantaneous impression or primary memory of objective things. It is in this case that personal perception is highlighted, the original expression of the whole film program is broken, and the artist's perception of life/life becomes the core of film creation. France, where the impressionist school of film was born, is the birthplace of film. When Lumiere recorded the whole process of the train entering the station, people only marveled at his technological miracle, and regarded the film as a "scientific treasure" at most, without paying attention to the artistic possibility in real life bred by the combination of light and shadow in the image. When Impressionist movie master completed the extension of Lumiere's films, we saw the aesthetic concept of Impressionism in reality. As Louis Luc said, "Life is making movies all the time, and movies should make life as much as possible". Undoubtedly, Delluc emphasized the affinity between film and life, and a part of this affinity pointed to the European "art film" movement, which flourished once in ten years, to fight against the drama film system divorced from life. In this confrontation, he emphasized the relationship between film and life/life, and transformed visual movement/rhythm into the essence of life. In this transformation, film images have become the most realistic means to express unrealistic things.
On the other hand, the rise of French avant-garde film movement, especially the rise of impressionism called "the first avant-garde", can be said that this film genre is a combination of many practical factors. Delluc, the pioneer of French impressionist film, suggested that the premise of this school was anxiety about the collapse of the French film industry. As we all know, film, as a mass communication culture, has become a cultural phenomenon that cannot be ignored in the 20th century. In the 1920s, the mature narrative form of American Hollywood films quickly occupied the European market with great competitiveness, which led to the collapse of the French film industry, and the once popular "art film" went to death in a dramatic dead end. Impressionist avant-garde films, as a counter-argument, have the potential intention to revive the French film industry, become an independent/creative destination of film art, and lead films to the ontological/personalized/creative elite cultural circle. It is in this subversive European film revolution that we have to admit at the same time that impressionist directors made inevitable compromises on film industry and commerce in order to revive the economic subconscious of French films and their own economic pressure while accepting impressionist aesthetics. As Sherman Drucker said, "the bankruptcy of filmmakers is not helping movies." In this way, Impressionist films are combined with the types formed in French "art films". However, in the process of this combination, the exploration of realism or naturalism visual aesthetics of recording images finally made the film truly become an art, and began to get rid of the adaptation of famous works, so that the film was no longer a vassal of the past aesthetics. Impressionist movie master's opportunity to look for the film itself from the creation of realism or naturalism has become a powerful support for the "photojournalism" they advocated. Therefore, Jean Epstein came to the conclusion that film is the most unrealistic and poetic art media based on the most realistic foundation. Under this judgment, realistic or naturalistic narrative schemes and poetic combinations of light and shadow/movement/rhythm/montage images appear constantly: Jean Epstein's loyal heart/Gunther's wheel/Drucker's fanaticism ... This situation can clearly see the combination of melodrama and impressionism poetics. In this kind of films, out of the compromise between producers and audiences, there are often exaggerated and coupled plots, strong outdated emotional patterns and character relationships. When we see Epstein's Beautiful NiVirnes River, we can be delighted to find that the "art films" in the 19 10 era are not pro-natural. Here, we have a lot of detailed expressions of daily life and emotions to capture the flowing beauty in nature. However, it is a pity that the narrative mode of melodrama is very abrupt and falls into the stereotype, and the hero saves the beauty. This is a realistic way out for a photogenic director and Zola-style naturalistic novel after the groundbreaking film revolution, which provided more possibilities for the formation of French poetic realism in the 1930s. Representative figure
Louis Drucker, Abel Gance, Gemin Drucker, Sherman Drucker, Jean Epstein,
representative works
Wheels, fever, Spanish Festival, loyal heart, beautiful NiVirnes River and so on.
affect
Impressionism failed to save struggling French films economically, nor did it satisfy the avant-garde directors' desire for exploration. Abstract/Dadaism/Surrealism stepped onto the stage of film art in the complicated discourse torrent of modernist literature in the 20th century. However, under the flourishing age of this modernist film art, it is facing a greater crisis. The first is the survival crisis of its own art; Secondly, the French film industry experienced a more violent collapse. In this case, a group of avant-garde film directors began to face up to their own living reality/the situation of French society and the spiritual crisis of the whole world. Their creation began to return to reality, from formal aesthetics to practical creation. As a result, documentary became the outlet of many avant-garde directors, and Evans/Cavalcanti combined personal avant-garde artistic aesthetics with social reality. On the other hand, some avant-garde film directors ideologically worship the miracle created by Hollywood in the United States. They insist on finding the fulcrum of artistic survival in the feature films of avant-garde movies. Under such circumstances, realism/naturalism is obviously the artistic discourse with the widest audience base and the only choice for avant-garde artists. Verdell/Vigo/rene claire, especially jean renoir, the son of Impressionist painter Boer Auguste Renoir, once again began to explore the realism of film art, from the avant-garde film form/stunt to the description of life/nature, the film history is called "French poetic realism". As the name implies, they once again linked the narrative paradigm of realism/naturalism with image poetics, made a new exploration of "photonics" and began a realistic exploration of "post-impressionist images".