OFFICIAL3 According to the professor,how did Painlevé's film confuse the audience?

[00:00.00]Narrator: Listen to part of a lecture in a film history class.
[00:06.94]MALE PROFESSOR: Okay, we've been discussing film in the 1920s and 30s, and, ah, how back then, film categories as we know them today had not yet been established. [00:20.01]Ah, we said that, by today's standards, many of the films of the 20s and 30s would be considered "hybrids," that is, a mixture of styles that wouldn't exactly fit into any of today's categories. And in that context,
[00:38.53]today we're going to talk about a, a filmmaker who began making very unique films in the late 1920s. [00:46.05]He was French, and his name was Jean Painlevé.[00:50.91]Jean Painlevé was born in 1902. [00:55.71]He made his first film in 1928. [00:59.12]Now in a way, Painlevé's films conform to norms of the 20s and 30s; that is, they don't fit very neatly into the categories we use to classify films today. [01:12.38]That said, even by the standards of the 20s and 30s, Painlevé's films were a unique hybrid of styles.
[01:22.34]He had a special way of fusing—or, or some people might say confusing—science and fiction; [01:30.88]his films begin with facts, but then they become more and more fictional, [01:37.91]they gradually add more and more fictional elements. [01:42.33]In fact, Painlevé was known for saying that "science is fiction."
[01:48.85]Painlevé was a, a pioneer in underwater filmmaking, and a lot of his short films focus on the aquatic animal world. [01:57.98]He liked to show small underwater creatures displaying what seemed like familiar human characteristics—what we think of as unique to humans. [02:09.81]He might take a clip of a mollusk going up and down in the water and set it to music,
[02:16.29]you know, to make it look as if the mollusk were dancing to the music like a human being. That sort of thing. [02:23.16]But then he'd suddenly change the image or narration to remind us how different the animals are, how unlike humans. [02:32.77]He confused his audience in the way he portrayed the animals he filmed, mixing up our notions of the categories "human" and "animal."
[02:43.82]The films make us a little uncomfortable at times because we're uncertain about what we're seeing. [02:50.19]It gives his films an uncanny feature…the familiar made unfamiliar, the normal made suspicious. [02:59.68]He liked twists, he liked the unusual. [03:03.65]In fact, one of his favorite sea animals was the sea horse because with sea horses, it's the male that carries the eggs. And he thought that was great. [03:15.23]His first and most celebrated underwater film is about the sea horse.[03:20.82]Susan? You have a question?
[03:23.00]FEMALE STUDENT: But underwater filmmaking wasn't that unusual, was it? [03:27.32]I mean, weren't there other people making movies underwater?
[03:30.95]MALE PROFESSOR: Well, actually it was pretty rare at that time. [03:34.76]I mean, we're talking the early 1930's here.
[03:38.36]FEMALE STUDENT: But what about Jacques Cousteau? [03:40.39]Wasn't he like an innovator, you know, with underwater photography, too?
[03:44.73]MALE PROFESSOR: Ah, Jacques Cousteau.[03:47.23]Well, Painlevé and Cousteau did both film underwater, and they were both innovators, so you're right in that sense, [03:56.21]but that's pretty much where the similarities end. [03:59.20]First of all, Painlevé was about 20 years ahead of Cousteau…
[04:03.96]Um, and Cousteau's adventures were high-tech, with lots of fancy equipment, whereas Painlevé kind of patched equipment together as he needed it. [04:16.34]… Uh, Cousteau usually filmed large animals, usually in the open sea, whereas Painlevé generally filmed smaller animals; and, and he liked to film in shallow water.
[04:29.25]… Uh, what else? Well the main difference was that Cousteau simply investigated and presented the facts; he, he didn't mix in fiction. [04:38.79]He was a strict documentarist; [04:41.34]he set the standard, really, for the nature documentary. [04:45.89]Painlevé, on the other hand, as we said before, mixed in elements of fiction, [04:51.52]and his films are much more artistic, incorporating music as an important element.[04:57.98]John, you have a question?
[05:00.69]MALE STUDENT: Well, maybe I shouldn't be asking this…Uh, but if Painlevé's films are so special, so good, why haven't we ever heard of them? [05:11.56]I mean, everyone's heard of Jacques Cousteau. …
[05:15.05]MALE PROFESSOR: Well, that's a fair question. [05:17.40]Uh, the short answer is that Painlevé's style just never caught on with the general public. [05:25.04]I mean it probably goes back, at least in part, to what we mentioned earlier, that, that people didn't know what to make of his films, that they were confused by them. [05:36.14]Whereas Cousteau's documentaries were very straightforward, met people's expectations more than Painlevé's films did. [05:45.33]But your true film history buffs know about him, [05:49.53]and Painlevé's still highly respected in many circles.