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The cinema of France comprises the film industry and its film productions, whether made within the nation of France or by French film production companies abroad. It is the oldest and largest precursor of national cinemas in Europe, with primary influence also on the creation of national cinemas in Asia.
Film d'art (French for "art film") was an influential film movement or genre that developed in France prior to World War I and began with the release of L'Assassinat du duc de Guise (1908), directed by Charles Le Bargy and André Calmettes of the Comédie Française for the Société Film d'Art, a company formed to adapt prestigious theatre plays starring famous performers to the screen. [1]
The Bibliothèque du film, which was created in 1992 to show the history of cinema, its production, impact and artistic strength, merged with the Cinémathèque française. Cinémathèque française operates the Musée de la cinémathèque , formerly known as Musée du cinéma Henri-Langlois, in the new building.
The Musée de la cinémathèque (French pronunciation: [myze də la sinematɛk], Cinema Museum), formerly known as Musée du cinéma Henri-Langlois ([myze dy sinema ɑ̃ʁi lɑ̃ɡlwa], Henri Langlois Cinema Museum), is a museum of cinema history located in the Cinémathèque française, 51 rue de Bercy in the 12th arrondissement of Paris.
The New Wave (French: Nouvelle Vague, French pronunciation: [nuvɛl vaɡ]), also called the French New Wave, is a French art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm .
Art films were also influenced by films by Spanish avant-garde creators, such as Luis Buñuel and Salvador Dalí (who made L'Age d'Or in 1930), and by the French playwright and filmmaker Jean Cocteau, whose 1932 avant-garde film The Blood of a Poet uses oneiric images throughout, including spinning wire models of a human head and rotating ...
The narrative avant-garde did have a theoretical base, although its divergent articulation by different writer-filmmakers has confused the issue to a certain extent. Much of it is an extension of Symbolist poetics that posit a realm beyond matter and our immediate sense experience that art and the artist attempt to reveal and express. [7]
The film went on to become the most successful martial arts film in cinematic history, popularized the martial arts film genre across the world, and cemented Bruce Lee's status as a cultural icon. Hong Kong action cinema, however, was in decline due to a wave of "Bruceploitation" films.