DOGME 95IML 499: DIGITAL CINEMA / DIGITAL CULTURENOVEMBER 12, 2012
what is real?what is realism?
Andre Bazin            “The Ontology of the Photographic Image”   – an image of the world… without the intervention of man...
Italian Neo-Realism• not creating stories about reality, but turning reality into stories• loss of national identity requi...
ROME OPEN CITYROBERTO ROSSELLINI             1945
THE BICYCLE THIEF  VITORIO DE SICA             1948
UMBERTO DVITORIO DE SICA           1952
French New Wave, 1958-1964Alexandre Astruc, “The Camera-Stylo”   Andrew Sarris, the auteur theory
THE 400 BLOWSFRANCOIS TRUFFAUT              1959
BREATHLESSJEAN-LUC GODARD            1960
Dogme 95: The Vow of Chastity 1. Shooting must be done on location. Props and sets must not                           be b...
5. Optical work and filters are forbidden.   6. The film must not contain superficial action. (Murders,                wea...
THE CELEBRATIONTHOMAS VINTERBERG1998
GUMMOHARMONY KORINE1997
THE IDIOTSLARS VON TRIER1998
JULIEN DONKEY-BOYHARMONY KORINE1999
THE KING IS ALIVEKRISTIAN LEVRING2000
BAMBOOZLEDSPIKE LEE2000
DANCER IN THE DARKLARS VON TRIER2000
IKUSHU LEA CHEANG2000
TIMECODE 2000MIKI FIGGIS2000
NOBODY KNOWSHIROKAZU KORE-EDA2004
TREELESS MOUNTAINSO YONG KIM2008
WENDY AND LUCYKELLY REICHARDT2008
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Dogme 95

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Dogme 95

  1. 1. DOGME 95IML 499: DIGITAL CINEMA / DIGITAL CULTURENOVEMBER 12, 2012
  2. 2. what is real?what is realism?
  3. 3. Andre Bazin “The Ontology of the Photographic Image” – an image of the world… without the intervention of man – ontological bond between the world and the image – photography + time– history of cinema = ever increasing ability to represent reality – faith in the image versus faith in reality – eventless plots; slow rhythm; deep focus; viewer decides where to look; long takes – respect for the time and space of the world – leads to “revelation”
  4. 4. Italian Neo-Realism• not creating stories about reality, but turning reality into stories• loss of national identity requires its remaking through cinema
  5. 5. ROME OPEN CITYROBERTO ROSSELLINI 1945
  6. 6. THE BICYCLE THIEF VITORIO DE SICA 1948
  7. 7. UMBERTO DVITORIO DE SICA 1952
  8. 8. French New Wave, 1958-1964Alexandre Astruc, “The Camera-Stylo” Andrew Sarris, the auteur theory
  9. 9. THE 400 BLOWSFRANCOIS TRUFFAUT 1959
  10. 10. BREATHLESSJEAN-LUC GODARD 1960
  11. 11. Dogme 95: The Vow of Chastity 1. Shooting must be done on location. Props and sets must not be brought in. 2. The sound must never be produced apart from the images or vice versa. 3. The camera must be hand-held. Any movement or immobilityattainable in the hand is permitted. (The film must not take place where the camera is standing; shooting must take place where the film takes place).4. The film must be in color. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera).
  12. 12. 5. Optical work and filters are forbidden. 6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.)7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.) 8. Genre movies are not acceptable. 9. The film format must be Academy 35mm. 10. The director must not be credited.
  13. 13. THE CELEBRATIONTHOMAS VINTERBERG1998
  14. 14. GUMMOHARMONY KORINE1997
  15. 15. THE IDIOTSLARS VON TRIER1998
  16. 16. JULIEN DONKEY-BOYHARMONY KORINE1999
  17. 17. THE KING IS ALIVEKRISTIAN LEVRING2000
  18. 18. BAMBOOZLEDSPIKE LEE2000
  19. 19. DANCER IN THE DARKLARS VON TRIER2000
  20. 20. IKUSHU LEA CHEANG2000
  21. 21. TIMECODE 2000MIKI FIGGIS2000
  22. 22. NOBODY KNOWSHIROKAZU KORE-EDA2004
  23. 23. TREELESS MOUNTAINSO YONG KIM2008
  24. 24. WENDY AND LUCYKELLY REICHARDT2008

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