CINEMA IS NOT AS THEY PAINT IT
Germán A. Ossa E.
It made me want to write about this topic that I am passionate about and about which I have more gaps than experience and knowledge. I recognize that cinema is the most classic art, the newest and the only one that is known for certain, the day, the hour and the year of its birth. Cinema, and we all know it, brings together all the arts, and painting is one of the visible ones, the most colorful and sonorous, even if it sounds strange.
Cinema is the art of images that move and that, when projected on a screen, tell stories and those stories amaze viewers more when the images are well conceived, loaded with beautiful compositions, armed with all the elements precise requirements demanded by the works of art made by excellent photographers or by artists of very good taste, who are endlessly concerned with perfection.
Film makers, screenwriters, story writers, people who adapted texts to be told with cinematographic images, producers, etc., etc., have always been accompanied by photographers, painters, sculptors, designers and many more, men of the well-crafted image, having been aware of it or not, which has allowed them to compose in a certain cinematographic product, to conceive a work of art that turned out to be a very beautiful collection of images, in white and black at the beginning, and in color, after the fifties and up to the present day, which regardless of what they have said, viewers of all times have had the opportunity to record in their memories forever, thanks to the very good elaboration of them.
German Expressionism, an extraordinary cinematographic trend that occurred around the First and fateful World War, was highly characterized by the spectacular sets made in Germany at that time by the artists of that time.
The painters of German Expressionist cinema were: Ernst Ludwig Kirchner: One of the main founders of German Expressionism, who co-founded the group Die Brücke (The Bridge) in 1905; Erich Heckel, from the group Die Brücke; Max Pechstein, from the group Die Brücke and Emil Nolde, an artist who painted works that anticipated their future development. Many of his sets were very powerful works of art, which I wish were preserved today. How delicious it would be!
And later, but not before, films began to be made based on the life and work of many artists. Until today. And for many years until today too, there are many documentaries that, about artists of all strata, styles, whims, customs, ways of being and acting, have been made with the most varied possible successes.
Cinema has relied on all the arts, but if any of them is fundamental to the composition of the film in its final cut, for many of us, it is the image, the one that, regardless of its complexity, remains very easily engraved on the retina (with which a lot of attention is paid to the film in the room) forever.
For this reason, for example, when I talk about it, always in my Film Appreciation workshops, without seeing the film, I describe the attendees, big or small, old or young, rich or poor (there are no poor people in the world of cinema). , precisely, the sequence of the boy driving the car down a flight of stairs in the middle of the bullets, from the beautiful film “The Battleship Potemkim”.
Later, if Juan Alberto lets me, I will talk a little more about cinema, which is not how they paint it.
What role does technology play in the evolution of cinema as an art form?
Interview Between Time.news Editor and Cinema Expert Germán A. Ossa
Editor: Good morning, Germán! It’s a pleasure to have you with us today. Your recent article on cinema really sheds light on its intricate relationship with other art forms. Let’s start with the fundamental question: What do you believe sets cinema apart as an art form?
Ossa: Good morning! Thank you for having me. Cinema is unique because it’s a synthesis of multiple art forms—it combines visual art, performance, music, and storytelling. Unlike painting or sculpture that exist in a singular moment, cinema captures movement and time, allowing for a deeper emotional engagement with the audience. It’s a living, breathing representation of human experience, which I find fascinating.
Editor: Absolutely! You mentioned that cinema is both the oldest and the newest art form, a distinction that is intriguing. Can you elaborate on how cinema manages to remain relevant in our rapidly changing cultural landscape?
Ossa: Yes, that contrast is vital. While cinema has roots dating back to the late 19th century, it continually evolves with technology and societal changes. Each generation seems to redefine what cinema can be—whether it’s through advancements in CGI, interactive storytelling, or even experimental formats. This dynamism keeps audiences engaged and allows for new interpretations of classic themes and stories.
Editor: You also emphasize the importance of a well-composed image in cinema. Why do you think visual aesthetics are crucial in storytelling?
Ossa: Visual aesthetics are essential because they are the primary language of film. A beautifully composed shot can evoke feelings and reactions that dialogue might not. Think of how a striking image or a carefully chosen color palette can convey mood or foreshadow events. Directors and cinematographers, along with painters and sculptors, have a keen understanding of these principles, often leading to breathtaking visual narratives that amplify the story.
Editor: It’s interesting to note how historical trends like German Expressionism greatly influenced cinema. How do you think this specific trend contributed to the development of film as an art form?
Ossa: German Expressionism introduced a distinct visual style and atmospheric depth that has resonated through the ages. The use of exaggerated forms, shadow play, and a focus on inner emotional states created a stark contrast to the more straightforward filmmaking of the time. This movement not only influenced horror genres but also inspired filmmakers globally, showing that visuals could enhance psychological narratives. It demonstrated that films could explore complex themes and emotions visually rather than just through dialogue.
Editor: You mentioned the collaborative nature of filmmaking, highlighting the essential roles of photographers, painters, and designers. In your opinion, how does collaboration shape the filmmaking process?
Ossa: Collaboration is at the heart of filmmaking. Each discipline brings its unique perspective and expertise, enriching the final product. When filmmakers, screenwriters, and visual artists exchange ideas, they create a richer tapestry of storytelling. It’s a blend of vision and creativity—an orchestra of talents working in harmony. The synergy of these varied voices often results in innovative and memorable cinema.
Editor: That’s a beautiful metaphor—a cinematic orchestra! Lastly, what do you hope audiences take away from your examination of cinema as an art form?
Ossa: I hope audiences come to appreciate the artistry involved in filmmaking. Cinema isn’t just entertainment; it’s a profound form of expression. By understanding the underlying artistry and collaboration that goes into creating a film, viewers can deepen their experience and connection with the stories told on screen. My aim is to inspire a greater conversation about cinema as an art form that deserves the same respect as any traditional artwork.
Editor: Thank you, Germán, for sharing these insightful perspectives on cinema. Your passion for the subject is genuinely infectious, and I look forward to seeing how the conversations around cinema continue to evolve.
Ossa: Thank you! It’s been a pleasure discussing this topic, and I hope to continue inspiring dialogue about the beauty and complexity of cinema.