Condensed David Bordwell Film Art slides about Film Movement from 1910s - 1960s.

1. FILM MOVEMENT
1910s - 1960s

2. FILM MOVEMENT
Documented significant developments in
Film that happened around the world.

3. FILM MOVEMENT
Germany (1910s-20s)
Soviet Union (1920s-30s)
Italy (1940s-50s)
France (1950s-60s)

4. GERMAN EXPRESSIONISM
(1919-1926)
Expressionism in Art: expressing emotional
experience is highest priority.
Showing reality as it is, is deemed artless.

5. World War 1 ends in 1918.
Expressive shadows, diagonal lines, dark subject
matter, horror, evil or mad characters, pessimistic
outlook of the future.
The Cabinet of Dr Caligari (1920) by Robert Wiene
Nosferatu (1922) by FW Murnau
Metropolis (1927) by Fritz Lang
GERMAN EXPRESSIONISM
(1919-1926)

8. The Exorcist (1973)

9. The Exorcist (1973)

10. SOVIET MONTAGE
(1924-1930)
The first-ever Film School was founded in
Soviet Union in 1919.
Professor Lev Kuleshov taught that the power
of film was found in editing.
Kuleshov Effect: Juxtaposition of two shots
create a new meaning.
Other innovations: Cutting faster, different shot
sizes, Match Cutting.

11. Battleship Potemkin (1925) by Sergei Eisenstein
The “Odessa Steps” scene is revolutionary for
its time. Demonstrates how editing can create
intensity of emotions.
Influenced all modern day film editing.
SOVIET MONTAGE
(1924-1930)

12. Neo realism = New realism
Towards the end of World War 2,
beginning of peace, people
rebuilding their lives.
ITALIAN NEOREALISM
(1942-1951)

13. ITALIAN NEOREALISM
(1942-1951)
Filmmakers rebelled against anything artificial
and stylised. They wanted authenticity.
Used actual war-torn locations, non-actors,
natural lighting, improvisation, dubbed sound.
Focus on the struggles of ordinary people.
NO happy endings.

14. ITALIAN NEOREALISM
(1942-1951)
Rome, Open City (1945) by
Roberto Rossellini
The Bicycle Thieves (1948)
by Vittorio De Sica

15. ROME, OPEN CITY (1946)

16. FRENCH NEW WAVE (1959-1967)
Young, carefree, children of the wartime generation.
Rebellious, opinionated, great lovers of Film.

17. FRENCH NEW WAVE (1959-1967)
They were drawn to the same Film clubs in
Paris, where Films were watched and
discussed.
They started writing for Cahiers du Cinema
(Cinema Journal).
Eventually, to prove their theories, they
started to make Films.
Auteur Theory - The Director should be the
‘Author’ of a Film, creating a recognisable
style that is unique to him/her.

20. They broke all the rules of filmmaking:
Themes: No longer serious, but playful and
frivolous, about youthful behaviour, love,
heartbreak, being cool.
Narrative: Avant-garde, non-linear,
improvisational. Sometimes the stories go
nowhere.
Innovations: Colour film, handheld cameras,
Use of Voice-Overs, Jump Cuts, Pop music,
abrupt music jumps, freeze frames, looking
into the camera.
FRENCH NEW WAVE (1959-1967)

21. The 400 Blows (1959) by Francois Truffaut
Breathless (1960) by Jean-Luc Godard
The Collector (1967) by Eric Rohmer
FRENCH NEW WAVE (1959-1967)