This document discusses François Truffaut's 1960 film Tirez sur le pianiste (Shoot the Piano Player) in the context of the French New Wave movement. It provides analysis of the film from multiple scholarly sources, noting its stylistic experimentation, references to American crime novels, themes of alienation and the artist, and portrayal of the protagonist as a "sacrificial hero." While playful in tone, the film is said to invite meditation on philosophical issues through its cinematic echoes. Its lighthearted style is seen as complementing, not detracting from, its themes. The protagonist represents the idealized New Wave artist figure through his working-class origins and abandonment of his career.
The French New Wave was a film movement that emerged in France in the late 1950s and 1960s. Inspired by young film critics writing for Cahiers du Cinema, it emphasized auteur theory and featured unconventional stylistic techniques like jump cuts, handheld camerawork, and location shooting. Directors like Francois Truffaut, Jean-Luc Godard, Claude Chabrol, and Eric Rohmer made personal, politically-minded films that broke conventions and influenced global cinema.
The French New Wave film movement of the 1960s abandoned traditional narrative techniques and incorporated greater symbolism and abstraction. It also dealt with themes of social alienation, psychopathology, and sexual love. Key characteristics included jump cuts, location shooting, natural lighting, improvised dialogue and plotting, direct sound recording, and long takes. The movement was influenced by French film critics in the 1950s who rejected classical studio filmmaking in favor of techniques like mise-en-scene and viewed the best films as personal artistic expressions of their directors.
The document discusses the Auteur Theory and its origins in the French New Wave film movement of the 1950s-60s. It explains that the Auteur Theory positions the director as the primary author of a film and sees their works as expressing a consistent style and themes. Key figures discussed are Francois Truffaut, Jean-Luc Godard, and how their films like Breathless challenged the dominant "Tradition of Quality" films in France through location shooting and a looser style.
The document discusses the French New Wave cinema movement of the late 1950s and 1960s. Key points:
- Film directors like François Truffaut, Jean-Luc Godard, and others rejected the classic style of French cinema and experimented with techniques like jump cuts, location shooting, and improvised dialogue.
- They attacked the traditional literary style and established the director as the "author" of the film.
- Films of the New Wave were low-budget and rapidly gained popularity, spreading the movement to other countries and increasingly addressing political topics through the 1960s.
- François Truffaut's film The 400 Blows was personally autobiographical and helped establish him as a
The French New Wave was an influential film movement that emerged in France in the late 1950s. A group of young film critics-turned-directors rejected classical filmmaking styles in favor of personal expression, deep composition, long takes, and location shooting. They drew inspiration from American films and aimed to bring a sense of realism and flexibility to cinema. Some of the most influential French New Wave films included Breathless, The 400 Blows, and Jules and Jim. The movement had a significant impact on global filmmaking styles.
The French New Wave of the late 1950s and 1960s influenced modern cinema through its rejection of classical Hollywood conventions. Directors like Godard emphasized location shooting with handheld cameras, natural lighting and sound, and nonlinear narratives focused on expressing the director's vision rather than adhering to genres. This movement encouraged experimentation and influenced directors like Tarantino to use long takes and tracking shots. While animation studios now emphasize consistent styles, embracing the French New Wave's emphasis on directorial freedom could lead to more interesting animated films in the future.
Understanding cinema:french new wave,italian neorealism and indian parallel c...Faiqa Dabir
Italian Neorealism emerged in post-WWII Italy in response to the difficult economic conditions and desire to portray realism over fascism's rejection of realism. Key directors like Roberto Rossellini and Vittorio De Sica filmed on location using non-professional actors and a documentary style. De Sica's 1948 film Bicycle Thieves is considered the pinnacle of the movement. The French New Wave of the late 1950s rejected classical Hollywood styles through techniques like jump cuts and handheld cameras, influenced by writers at Cahiers du Cinema and the auteur theory. Parallel Indian Cinema emerged in the 1970s as an alternative to commercial Indian cinema, addressing social and political realities through serious themes and naturalism
The French New Wave was a film movement that emerged in France in the late 1950s and 1960s. Inspired by young film critics writing for Cahiers du Cinema, it emphasized auteur theory and featured unconventional stylistic techniques like jump cuts, handheld camerawork, and location shooting. Directors like Francois Truffaut, Jean-Luc Godard, Claude Chabrol, and Eric Rohmer made personal, politically-minded films that broke conventions and influenced global cinema.
The French New Wave film movement of the 1960s abandoned traditional narrative techniques and incorporated greater symbolism and abstraction. It also dealt with themes of social alienation, psychopathology, and sexual love. Key characteristics included jump cuts, location shooting, natural lighting, improvised dialogue and plotting, direct sound recording, and long takes. The movement was influenced by French film critics in the 1950s who rejected classical studio filmmaking in favor of techniques like mise-en-scene and viewed the best films as personal artistic expressions of their directors.
The document discusses the Auteur Theory and its origins in the French New Wave film movement of the 1950s-60s. It explains that the Auteur Theory positions the director as the primary author of a film and sees their works as expressing a consistent style and themes. Key figures discussed are Francois Truffaut, Jean-Luc Godard, and how their films like Breathless challenged the dominant "Tradition of Quality" films in France through location shooting and a looser style.
The document discusses the French New Wave cinema movement of the late 1950s and 1960s. Key points:
- Film directors like François Truffaut, Jean-Luc Godard, and others rejected the classic style of French cinema and experimented with techniques like jump cuts, location shooting, and improvised dialogue.
- They attacked the traditional literary style and established the director as the "author" of the film.
- Films of the New Wave were low-budget and rapidly gained popularity, spreading the movement to other countries and increasingly addressing political topics through the 1960s.
- François Truffaut's film The 400 Blows was personally autobiographical and helped establish him as a
The French New Wave was an influential film movement that emerged in France in the late 1950s. A group of young film critics-turned-directors rejected classical filmmaking styles in favor of personal expression, deep composition, long takes, and location shooting. They drew inspiration from American films and aimed to bring a sense of realism and flexibility to cinema. Some of the most influential French New Wave films included Breathless, The 400 Blows, and Jules and Jim. The movement had a significant impact on global filmmaking styles.
The French New Wave of the late 1950s and 1960s influenced modern cinema through its rejection of classical Hollywood conventions. Directors like Godard emphasized location shooting with handheld cameras, natural lighting and sound, and nonlinear narratives focused on expressing the director's vision rather than adhering to genres. This movement encouraged experimentation and influenced directors like Tarantino to use long takes and tracking shots. While animation studios now emphasize consistent styles, embracing the French New Wave's emphasis on directorial freedom could lead to more interesting animated films in the future.
Understanding cinema:french new wave,italian neorealism and indian parallel c...Faiqa Dabir
Italian Neorealism emerged in post-WWII Italy in response to the difficult economic conditions and desire to portray realism over fascism's rejection of realism. Key directors like Roberto Rossellini and Vittorio De Sica filmed on location using non-professional actors and a documentary style. De Sica's 1948 film Bicycle Thieves is considered the pinnacle of the movement. The French New Wave of the late 1950s rejected classical Hollywood styles through techniques like jump cuts and handheld cameras, influenced by writers at Cahiers du Cinema and the auteur theory. Parallel Indian Cinema emerged in the 1970s as an alternative to commercial Indian cinema, addressing social and political realities through serious themes and naturalism
The French New Wave was a movement in French cinema from 1959-1965. It arose from an economic slump in the French film industry and the introduction of government subsidies that allowed new, unknown directors to make their first films. New Wave films used lighter cameras and location shooting to bring a fresh, improvisational style that broke conventions and promoted the auteur theory. Key directors like Truffaut and Godard released films in 1958-1959 that exemplified the movement's innovative techniques and willingness to tackle taboo themes.
The French New Wave of the late 1950s and 1960s revolutionized filmmaking by embracing location shooting with available light, handheld cinematography, jump cuts, long takes, and prioritizing the director's vision. This led filmmakers to tell stories in a more personal, realistic style. Blockbuster movies now could benefit by balancing their visual effects with meaningful content and distinct directorial styles, drawing inspiration from the French New Wave's focus on experimentation and sincerity over budget and studio demands.
The French New Wave was a film movement that emerged in France in the late 1950s and 1960s. Inspired by young film critics writing for Cahiers du Cinema, it emphasized auteur theory and featured unconventional stylistic techniques like jump cuts, handheld camerawork, and location shooting. Directors like Francois Truffaut, Jean-Luc Godard, Claude Chabrol, and Eric Rohmer made personal, politically-minded films that broke conventions and influenced global cinema.
France is considered the birthplace of cinema. The Lumière brothers were the first filmmakers and patented the cinematograph. After World War I, the French film industry struggled as the US film industry entered the European market. This led France to impose quotas to support its domestic film industry. In the 1920s, French impressionist cinema emerged with directors like Abel Gance and Jean Epstein experimenting with form. The 1950s saw the rise of the influential French New Wave movement known for innovative techniques and personal filmmaking pioneered by directors like François Truffaut, Jean-Luc Godard, Claude Chabrol and Jacques Rivette. Some of the iconic French films from this era include The 400 B
The document discusses realism in film through various time periods and movements, including Italian Neorealism of the 1940s-50s known for using non-professional actors and location shooting to depict poor and working class conditions, British "Kitchen Sink Realism" of the 1950s-60s showing dissatisfied working class characters and societal critique, Soviet films of the late 1950s-early 1960s like The Cranes Are Flying that brought realistic depictions of war to the screen, and more contemporary realist films from China and the Dardenne Brothers known for gritty portraits of everyday life.
The document discusses the origins and key aspects of the French New Wave film movement known as the Nouvelle Vague. It traces the term back to sociological articles in the late 1950s discussing French youth and a transition of roles between generations. It then outlines three interlocking axes that defined New Wave cinema - authorship that elevated directors, cinephilia influenced by a love of film especially Hollywood, and new representations in narrative and style. The document also summarizes the tenets of the Nouvelle Vague like challenging conventions and establishing cinema as an artistic expression rather than just entertainment. It provides context on the Tradition of Quality films that preceded the New Wave and influences like Cinephilia and Astruc's notion of the
The document discusses the debate around realism versus anti-realism in film. It covers several theorists and their perspectives, such as Siegfried Kracauer arguing that film is uniquely capable of mirroring reality, and Bazin viewing the camera's ability to capture reality as satisfying a human desire. The document also discusses figures like Deren who blended reality and fantasy, and Brakhage who aimed to liberate the eye from conventions. It questions if mechanical reproduction alone constitutes art, and examines how concepts like realism have evolved, especially with innovations like CGI.
The French New Wave was a film movement in the late 1950s and 1960s that emphasized experimentation with cinematic techniques like handheld camera, jump cuts, and location shooting. Young film critics like Francois Truffaut and Jean-Luc Godard drew inspiration from Italian Neorealism and directed their own low-budget films that explored personal themes and contemporary social issues in France. The movement brought fresh approaches to filmmaking and helped turn the director into an auteur with a distinctive personal vision.
This document discusses classical Hollywood cinema and how it compares to alternative cinema of the same time period. It defines key elements of classical cinema like the 3 act structure, editing for continuity, and representation of time and space. It provides examples of classical films like Casablanca and notes how Psycho diverged as an "alternative cinema" by killing its lead character. In conclusion, it argues that classical storytelling serves as a base for modern films and will continue to influence cinema going forward.
The document discusses auteur theory, which focuses on analyzing films based on the director's personal creative vision and stylistic choices rather than just the genre or studio production process. It originated in 1950s France as a way to elevate American and French films to an art form by highlighting the director's role. Key aspects of auteur theory include analyzing a director's technical competence, coherent personal style, and consistent worldview across multiple films. The document provides several examples of iconic directors and their recognizable stylistic traits, such as John Ford's use of landscape and Alfred Hitchcock's shot patterns. It also notes some critiques of auteur theory, such as its minimization of collaborative filmmaking.
Italian neorealism started after World War 2 as a desire for social progress. Films like Rome, Open City documented ordinary peoples' emotions without studios or lighting. It used non-professional actors and location shooting to portray post-war struggles. The movement declined in the 1950s but influenced directors globally like Satyajit Ray and Ken Loach, showing that authentic stories don't need expensive production.
Cahiers du cinéma was a French film magazine founded in 1951 that analyzed films from an auteurist perspective. Between 1969-1973, it was led by Jean-Louis Comolli and Jean Narboni and took a Marxist ideological approach to film criticism. They analyzed how films either reproduced or challenged dominant bourgeois ideology through their content and cinematic form/style. They categorized films as (a) directly supporting ideology, (b) attacking ideology through political content and non-traditional form, (c) becoming political through innovative form, (d) having political content but traditional realist form, (e) beginning within ideology but leaving a gap, and (f-g) two modes of documentary either accepting
This document discusses the technique of montage in film editing. It begins by defining montage as editing together short shots to compact space, time, and information. It then discusses the development of montage, particularly in Soviet films of the 1920s, where directors like Eisenstein and Vertov used montage to tell stories or illustrate ideas through juxtaposing images. The document outlines key aspects of Soviet montage theory and how it was shaped by the political context in Russia after the Bolshevik Revolution. It provides examples of famous Soviet montage sequences and discusses how the technique was later adapted by modern filmmakers.
Film Studies- Paper 1(Session A: Vertigo & Blade Runner)SofiaRibWillDS75
Hitchcock directed Vertigo in 1958 using techniques consistent with his auteur style. It featured his regular collaborators and themes of obsession, illusion, and voyeurism seen through the story of Scottie's obsession with Madeleine. Though a box office flop, it is now considered one of Hitchcock's masterpieces and exemplifies his innovative use of camerawork, theme, and mise-en-scene to immerse viewers in the psychological experience. The document provides technological, social, and artistic contexts for understanding Vertigo and Hitchcock's body of work.
The document discusses auteur theory in film, which proposes that the director is the primary author or 'auteur' of a film, with a recognizable and distinctive personal style. It originated with French New Wave directors like Truffaut, Chabrol, and Godard in the 1960s. Auteur films tend to be more stylistically sophisticated and give the director almost complete control over the filmmaking process. Critics argue it ignores the collaborative nature of filmmaking, but proponents believe successful auteur directors can withstand commercial pressures to impose their personal artistic visions. The document tasks analyzing films by Tim Burton to determine if they can be considered auteur films based on his distinctive style, recurring themes of misfits, and other signature
The document discusses how the French New Wave movement influenced cinema. It began in the late 1950s as a reaction against conventional filmmaking. Key figures like Francois Truffaut and Jean-Luc Godard promoted "auteur theory" through the magazine Cahiers du Cinema, arguing directors should have creative control. This led them to make films that broke conventions. The movement spread to other countries, most notably influencing the American New Wave of the 1960s-70s through its focus on auteurship and social realism. Elements of the French New Wave like long takes and emphasis on mise-en-scene can still be seen in some modern independent and art films today.
Auteur theory proposes that film directors impose their own distinctive style and personal vision on their films. Key aspects of auteur theory include the director using techniques like camera work, editing, and mise-en-scene to convey their unique artistic perspective. Famous directors like Alfred Hitchcock and Tim Burton are often cited as examples whose films have consistent and recognizable styles that support the auteur concept. Hitchcock's use of suspense and psychological themes, and Burton's gothic atmospheres and outsider characters, are signatures of their personal directorial voices.
The Cabinet of Dr. Caligari was a 1920 German Expressionist horror film written by Hans Janowitz and Carl Mayer. It tells the story of Francis who shares strange stories with a companion, including about a disturbed woman and encounters with the mysterious Dr. Caligari at a fair. Francis investigates after his friend is found dead, learning that Caligari is actually the director of a nearby asylum. In a twist ending, Francis and other characters are revealed to be patients in the asylum. The film was an early example of psychological horror and influenced expressionism in set design and filmmaking techniques.
This document provides an overview of several film theories, including early film theory, realism film theory, auteur theory, and feminist film theory. Early film theorists like Hugo Munsterberg and Rudolf Arnheim viewed films as a unique art form that transforms normal visual perception through techniques like editing and camera angles. Realism film theory holds that films encode reality in subjective ways and viewers judge films based on their own life experiences. Auteur theory posits that some directors impose their personal vision and style to achieve an auteur status. Feminist film theory critiques the stereotypical passive representations of women in classic Hollywood films and calls for more positive portrayals.
This document discusses the Dogme95 film movement that emerged in response to the increasing commercialization and Hollywood dominance of European cinema. Dogme95 directors like Lars Von Trier and Thomas Vinterberg adopted guerilla filmmaking techniques using handheld cameras and natural lighting to focus on character-driven stories and confront challenging subjects. While controversial, Dogme95 films helped reinvigorate European art cinema by prioritizing realism, director freedom, and challenging audiences rather than profit. The document also discusses how earlier movements like Oberhausen paved the way for more female-focused films and natural portrayals of women.
The document discusses the Auteur Theory, which originated from French film critics in the 1950s who argued that directors can be considered the authors or "auteurs" of films based on their personal creative vision and style. It provides background on the theory's origins with Francois Truffaut and the Cahiers du Cinema magazine. The document then examines how the theory applies to specific directors like Alfred Hitchcock and how their films exhibit recurring themes and techniques that represent their distinct cinematic style.
The French New Wave was a movement in French cinema from 1959-1965. It arose from an economic slump in the French film industry and the introduction of government subsidies that allowed new, unknown directors to make their first films. New Wave films used lighter cameras and location shooting to bring a fresh, improvisational style that broke conventions and promoted the auteur theory. Key directors like Truffaut and Godard released films in 1958-1959 that exemplified the movement's innovative techniques and willingness to tackle taboo themes.
The French New Wave of the late 1950s and 1960s revolutionized filmmaking by embracing location shooting with available light, handheld cinematography, jump cuts, long takes, and prioritizing the director's vision. This led filmmakers to tell stories in a more personal, realistic style. Blockbuster movies now could benefit by balancing their visual effects with meaningful content and distinct directorial styles, drawing inspiration from the French New Wave's focus on experimentation and sincerity over budget and studio demands.
The French New Wave was a film movement that emerged in France in the late 1950s and 1960s. Inspired by young film critics writing for Cahiers du Cinema, it emphasized auteur theory and featured unconventional stylistic techniques like jump cuts, handheld camerawork, and location shooting. Directors like Francois Truffaut, Jean-Luc Godard, Claude Chabrol, and Eric Rohmer made personal, politically-minded films that broke conventions and influenced global cinema.
France is considered the birthplace of cinema. The Lumière brothers were the first filmmakers and patented the cinematograph. After World War I, the French film industry struggled as the US film industry entered the European market. This led France to impose quotas to support its domestic film industry. In the 1920s, French impressionist cinema emerged with directors like Abel Gance and Jean Epstein experimenting with form. The 1950s saw the rise of the influential French New Wave movement known for innovative techniques and personal filmmaking pioneered by directors like François Truffaut, Jean-Luc Godard, Claude Chabrol and Jacques Rivette. Some of the iconic French films from this era include The 400 B
The document discusses realism in film through various time periods and movements, including Italian Neorealism of the 1940s-50s known for using non-professional actors and location shooting to depict poor and working class conditions, British "Kitchen Sink Realism" of the 1950s-60s showing dissatisfied working class characters and societal critique, Soviet films of the late 1950s-early 1960s like The Cranes Are Flying that brought realistic depictions of war to the screen, and more contemporary realist films from China and the Dardenne Brothers known for gritty portraits of everyday life.
The document discusses the origins and key aspects of the French New Wave film movement known as the Nouvelle Vague. It traces the term back to sociological articles in the late 1950s discussing French youth and a transition of roles between generations. It then outlines three interlocking axes that defined New Wave cinema - authorship that elevated directors, cinephilia influenced by a love of film especially Hollywood, and new representations in narrative and style. The document also summarizes the tenets of the Nouvelle Vague like challenging conventions and establishing cinema as an artistic expression rather than just entertainment. It provides context on the Tradition of Quality films that preceded the New Wave and influences like Cinephilia and Astruc's notion of the
The document discusses the debate around realism versus anti-realism in film. It covers several theorists and their perspectives, such as Siegfried Kracauer arguing that film is uniquely capable of mirroring reality, and Bazin viewing the camera's ability to capture reality as satisfying a human desire. The document also discusses figures like Deren who blended reality and fantasy, and Brakhage who aimed to liberate the eye from conventions. It questions if mechanical reproduction alone constitutes art, and examines how concepts like realism have evolved, especially with innovations like CGI.
The French New Wave was a film movement in the late 1950s and 1960s that emphasized experimentation with cinematic techniques like handheld camera, jump cuts, and location shooting. Young film critics like Francois Truffaut and Jean-Luc Godard drew inspiration from Italian Neorealism and directed their own low-budget films that explored personal themes and contemporary social issues in France. The movement brought fresh approaches to filmmaking and helped turn the director into an auteur with a distinctive personal vision.
This document discusses classical Hollywood cinema and how it compares to alternative cinema of the same time period. It defines key elements of classical cinema like the 3 act structure, editing for continuity, and representation of time and space. It provides examples of classical films like Casablanca and notes how Psycho diverged as an "alternative cinema" by killing its lead character. In conclusion, it argues that classical storytelling serves as a base for modern films and will continue to influence cinema going forward.
The document discusses auteur theory, which focuses on analyzing films based on the director's personal creative vision and stylistic choices rather than just the genre or studio production process. It originated in 1950s France as a way to elevate American and French films to an art form by highlighting the director's role. Key aspects of auteur theory include analyzing a director's technical competence, coherent personal style, and consistent worldview across multiple films. The document provides several examples of iconic directors and their recognizable stylistic traits, such as John Ford's use of landscape and Alfred Hitchcock's shot patterns. It also notes some critiques of auteur theory, such as its minimization of collaborative filmmaking.
Italian neorealism started after World War 2 as a desire for social progress. Films like Rome, Open City documented ordinary peoples' emotions without studios or lighting. It used non-professional actors and location shooting to portray post-war struggles. The movement declined in the 1950s but influenced directors globally like Satyajit Ray and Ken Loach, showing that authentic stories don't need expensive production.
Cahiers du cinéma was a French film magazine founded in 1951 that analyzed films from an auteurist perspective. Between 1969-1973, it was led by Jean-Louis Comolli and Jean Narboni and took a Marxist ideological approach to film criticism. They analyzed how films either reproduced or challenged dominant bourgeois ideology through their content and cinematic form/style. They categorized films as (a) directly supporting ideology, (b) attacking ideology through political content and non-traditional form, (c) becoming political through innovative form, (d) having political content but traditional realist form, (e) beginning within ideology but leaving a gap, and (f-g) two modes of documentary either accepting
This document discusses the technique of montage in film editing. It begins by defining montage as editing together short shots to compact space, time, and information. It then discusses the development of montage, particularly in Soviet films of the 1920s, where directors like Eisenstein and Vertov used montage to tell stories or illustrate ideas through juxtaposing images. The document outlines key aspects of Soviet montage theory and how it was shaped by the political context in Russia after the Bolshevik Revolution. It provides examples of famous Soviet montage sequences and discusses how the technique was later adapted by modern filmmakers.
Film Studies- Paper 1(Session A: Vertigo & Blade Runner)SofiaRibWillDS75
Hitchcock directed Vertigo in 1958 using techniques consistent with his auteur style. It featured his regular collaborators and themes of obsession, illusion, and voyeurism seen through the story of Scottie's obsession with Madeleine. Though a box office flop, it is now considered one of Hitchcock's masterpieces and exemplifies his innovative use of camerawork, theme, and mise-en-scene to immerse viewers in the psychological experience. The document provides technological, social, and artistic contexts for understanding Vertigo and Hitchcock's body of work.
The document discusses auteur theory in film, which proposes that the director is the primary author or 'auteur' of a film, with a recognizable and distinctive personal style. It originated with French New Wave directors like Truffaut, Chabrol, and Godard in the 1960s. Auteur films tend to be more stylistically sophisticated and give the director almost complete control over the filmmaking process. Critics argue it ignores the collaborative nature of filmmaking, but proponents believe successful auteur directors can withstand commercial pressures to impose their personal artistic visions. The document tasks analyzing films by Tim Burton to determine if they can be considered auteur films based on his distinctive style, recurring themes of misfits, and other signature
The document discusses how the French New Wave movement influenced cinema. It began in the late 1950s as a reaction against conventional filmmaking. Key figures like Francois Truffaut and Jean-Luc Godard promoted "auteur theory" through the magazine Cahiers du Cinema, arguing directors should have creative control. This led them to make films that broke conventions. The movement spread to other countries, most notably influencing the American New Wave of the 1960s-70s through its focus on auteurship and social realism. Elements of the French New Wave like long takes and emphasis on mise-en-scene can still be seen in some modern independent and art films today.
Auteur theory proposes that film directors impose their own distinctive style and personal vision on their films. Key aspects of auteur theory include the director using techniques like camera work, editing, and mise-en-scene to convey their unique artistic perspective. Famous directors like Alfred Hitchcock and Tim Burton are often cited as examples whose films have consistent and recognizable styles that support the auteur concept. Hitchcock's use of suspense and psychological themes, and Burton's gothic atmospheres and outsider characters, are signatures of their personal directorial voices.
The Cabinet of Dr. Caligari was a 1920 German Expressionist horror film written by Hans Janowitz and Carl Mayer. It tells the story of Francis who shares strange stories with a companion, including about a disturbed woman and encounters with the mysterious Dr. Caligari at a fair. Francis investigates after his friend is found dead, learning that Caligari is actually the director of a nearby asylum. In a twist ending, Francis and other characters are revealed to be patients in the asylum. The film was an early example of psychological horror and influenced expressionism in set design and filmmaking techniques.
This document provides an overview of several film theories, including early film theory, realism film theory, auteur theory, and feminist film theory. Early film theorists like Hugo Munsterberg and Rudolf Arnheim viewed films as a unique art form that transforms normal visual perception through techniques like editing and camera angles. Realism film theory holds that films encode reality in subjective ways and viewers judge films based on their own life experiences. Auteur theory posits that some directors impose their personal vision and style to achieve an auteur status. Feminist film theory critiques the stereotypical passive representations of women in classic Hollywood films and calls for more positive portrayals.
This document discusses the Dogme95 film movement that emerged in response to the increasing commercialization and Hollywood dominance of European cinema. Dogme95 directors like Lars Von Trier and Thomas Vinterberg adopted guerilla filmmaking techniques using handheld cameras and natural lighting to focus on character-driven stories and confront challenging subjects. While controversial, Dogme95 films helped reinvigorate European art cinema by prioritizing realism, director freedom, and challenging audiences rather than profit. The document also discusses how earlier movements like Oberhausen paved the way for more female-focused films and natural portrayals of women.
The document discusses the Auteur Theory, which originated from French film critics in the 1950s who argued that directors can be considered the authors or "auteurs" of films based on their personal creative vision and style. It provides background on the theory's origins with Francois Truffaut and the Cahiers du Cinema magazine. The document then examines how the theory applies to specific directors like Alfred Hitchcock and how their films exhibit recurring themes and techniques that represent their distinct cinematic style.
This document outlines the objectives of a research project analyzing representations of "Frenchness" in American popular culture over the last 20 years. It will collect sources from media, literature, film and television to identify common stereotypes of the French. The most persistent stereotypes are seen as the chic Parisian, brooding existentialist, and wine-drinking stereotypes. Historical tensions between France and the US sometimes led to "French bashing" in American media. While films often presented kinder portrayals, high media and comedy sometimes relied on stereotypes for laughs.
This document provides an overview and announcement of the publication of Writings, a collection of writings by filmmakers Jean-Marie Straub and Danièle Huillet. The book includes over 50 years of their writings, from early film criticism to interviews and descriptions of their filmmaking process. It aims to provide insight into their rigorous adaptation process and working methods through scripts, letters, diagrams and more. The publication coincides with the first U.S. retrospective of their films at MoMA in New York and an exhibition of their work.
The British New Wave, its Origins and the Case of the A Kind of LovingIoannis Tsirkas
This document discusses the British documentary movement of the 1930s-1940s and its influence on social realist films that emerged in subsequent decades in Britain. It focuses on key characteristics of the British New Wave of the late 1950s-1960s, including its working-class subjects, aesthetic styles influenced by Italian Neorealism and the French New Wave, and focus on "life as it is." It then analyzes John Schlesinger's 1962 film A Kind of Loving, noting its depiction of class differences through activities and locations, and questioning whether misogynistic views are presented through the female characters.
Around The World In Eighty Minutes The Travel Lecture FilmTracy Morgan
The travel lecture film formed an important part of early cinema and continues today, presented by itinerant film lecturers who screen silent travelogues with live narration at hundreds of venues across North America. These live performances allow audiences to vicariously visit places they cannot afford to see for themselves. While some predicted the genre's demise with television and new technologies, there are still around 30 full-time travelogue filmmakers who present to more people than most foreign or avant-garde films. The genre remains little studied due to the ephemeral nature of the live performances and deteriorating film prints.
This document provides information about genres and films to create a promotion package for a new film. It includes requirements to create a teaser trailer, website homepage, film magazine cover, or poster. It then discusses postmodernism and various postmodern theorists. It also covers narrative theory concepts from Propp, Todorov, and Levi-Strauss. Next, it defines genre and provides details on the crime and dystopian genres, including their origins and conventions. It includes timelines of influential crime and dystopian films. It concludes with short analyses of the trailers for Lock Stock and Two Smoking Barrels, Kill Bill Volume 1, and Get Carter.
The document discusses several modes of documentary filmmaking, including expository, observational, participatory, reflexive, poetic, and performative. It provides examples for each mode. Observational documentaries aim for cinematic realism using available light and handheld cameras. Frederick Wiseman is known for his observational studies of institutions. Participatory documentaries demonstrate the filmmaker's point of view through their engagement with the subject. Reflexive documentaries challenge assumptions by acknowledging the filmmakers. Poetic documentaries aim to create mood through cinematic techniques rather than argue a point. The performative mode emphasizes the filmmaker's personal involvement with the subject.
Comenius project sinema grubu funda irem meydan merve doğanpacrucru
The document discusses the history of cinema. It begins by introducing important early figures in cinema history like the Lumiere brothers, Georges Melies, and Thomas Edison. It then outlines several important film movements and trends that developed in the early 20th century in places like Germany, France, Italy, and Brazil. These include Expressionism, Poetic Realism, Neorealism, the French New Wave, Free Cinema, and the Brazilian New Cinema. The document concludes by discussing the impact and influence of cinema on society through its ability to educate, reflect social issues, and spread ideas and values.
The Hulot Trilogy were three of the 6 films directed by Jacques Tati and were inclusive of Mr. Hulot’s Holiday, 1953, Mon Oncle, 1958 and Play Time, 1967. The director through his direction tried to follow the footsteps of comic genius characters such as Keaton and Chaplin. The main character of the movie is Monsieur Hulot who is a clumsy man and founds himself in troubled circumstances which he needs to get rid of . The greatest strength of the movie lies in almost negligible use of dialogue’s and the film can be considered as a silent one if cheesy score’s and sound effects in the background were not used. According to Henri Langlois, one of the French new wave group members believed that to watch films without dialogues is a unique way to learn the cinema related art. The French new wave cinema comprised of people such as Henri Langlois who revolutionized the conventions of cinema collaborated into Hollywood’s rapid cuts with a hint of philosophy . One of the French new wave cinema inspired directors were Jacques Tati who briefly was a player of rugby, had learnt miming techniques at the music hall and short films based actor before directing his individual direction. This essay has been based on idealizing the trilogy of Hulot as directed by Jaques Tati in relation to French new wave in cinema.
This document provides 50 questions for the BIFFES World Cinema Quiz. It includes questions about films, directors, actors, and other personalities from world cinema. The questions cover topics from a wide range of countries and eras of film history. It also provides some context about the quiz itself, such as that it has 50 questions, is all written, and ties are broken by stars.
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This paper is aimed first at analyzing the initial public impact of Histoire Parallèle/Die Woche vor 50 Jahren, which aired weekly first on la Sept and then on French-German TV channel Arte from 1989 to 2001.
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5.
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Similar to The French New Wave as movement and style and the case of François Truffaut’s Tirez sur le pianiste (1960) (20)
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9
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3. + 1951: Les cahiers du cinema
+ Severe attacks against the French cinematic establishment (Bordwell and Thompson
1997, p.465)
+ Claude Chabrol, Jean-Luc Godard, Éric Rohmer, François Truffaut, Jacques
Rivette and others were collaborators of the magazine (Harris 2000, p.212)
+ “Nouvelle Vague” as an approved term to describe the changes to the wider
society of France (Neupert 2006, p.42), a term which turned out to be synonymous
with the movement (Kuhn 2007, p.202)
+ French New Wave appeared in 1959 (Greene 2007, p.10)
4. + The exclusion of France from the European and American
cinema during the years of the German occupation (Fairlamb 1996, p.49;
Lanzoni 2004, p.196)
+ The importance of “social realism” was increased (Forbes 1998, p.462)
+ Great emphasis to the scenario and devaluation of the director‟s
role (Bordwell and Thompson 1997, p.465)
– Truffaut: 'an adaptation [is] of value only when written by a man of the cinema'
(quoted in Greene 2007, p.27) and 'there are no works, there are only authors' (p.29)
+ The French state‟s policy to protect the French Cinema (Neale 1981,
p.20)
5. +
The element of the arbitrary in the plot was prevalent (Kuhn 2007, p.203)
–
+
The concept of continuity in montage was not of high respect (Kline 2006, p.85; Lanzoni 2004, p.211)
–
+
e.g. Tirez sur le pianiste (d. François Truffaut, France, 1960)
e.g. jump cuts
Every director had his own personal style (directors as autuers)
–
e.g. Claude Chabrol ≠ Jacques Rivette
+
Similar patterns in their films
+
References to the creating process of the film and to other films and directors as “inside
jokes” (Fairlamb 1996, p.49; Marie 2003, p.70)
–
+
e.g. the opening sequence in Le mépris (d. Jean-Luc Godard, France, 1963), the photo of Humphrey Bogart
in À bout de souffle (d. Jean-Luc Godard, France, 1960)
Cheap locations, natural lighting, experiments with the camera technique and the sound,
improvisation in the dialogues, preference to the wide depth of field and use of small
cinematographic crews (Neupert 2006, p.47)
6. +
Political radicalism (Forbes 1998, p.464)
+
Nouvelle Vague‟s „focus on alienated, disaffected individuals who had no contact with
society‟ (Kuhn 2007, p.203)
+
Cinema‟s correspondence to the ideas of young people (Marie 2003, p.96)
+
Active spectators and not „passive participants‟ (Lanzoni 2004, p.230)
+
Expression of the „brutal rapture of the cinema‟s social status‟ (Marie 2003, p.24)
+
„[T]he advent of Gaullism, the peace in Algeria, the postwar economic miracle, the
crisis in the role of French intellectual along with the crisis in the French Industry
following World War II‟ (Kuhn 2007, p.203)
+
The „aesthetic sclerosis‟ (Marie 2003, p.18) led to a pursuit „for a new kind of realism‟ (Forbes
1998, p.464)
7. + Reaction to the classic Hollywood style
+ A counter-proposal to the “cinema de papa” of
the “system”
+ Astruc‟s “camera stylo” (Marie 2003, p.31)
+ middle 1960s: the decadence of the movement
(Forbes 1998, p.464)
8. + Relationship between its aesthetic characteristics
and the sociopolitical and economic contexts of
its era
+ Renewal and evolution of the cinematic medium
itself
9. A short primer on Truffaut
+ Movie critic writing for Cahiers du Cinema and Arts throughout the 50s
+ Two essential pieces of writing/manifestos:
•
•
A Certain Tendency in French Cinema (in Cahiers du Cinema, 1954)
The French Cinema is Crushed by False Legends (in Arts, 1957, as a
series of articles)
+ „Directors are and want to be responsible for the scripts and dialogue
they illustrate. […] When they [the ToQ scriptwriters] hand in their
script, the film has already been made: in their view, the metteur-en-scène is
the person who decides on the framing‟ (Truffaut 2009, p.54)
10. Truffaut as director
+ „I have to feel I am producing a piece of entertainment‟
(Truffaut quoted in
Graham 1968, p.88)
+ Big fan of Hitchcock and Howard Hawks films: „we must consider
that they [Truffaut and Hitchcock] are less interested in abstract
concepts than in compelling images, less interested in society than in
individual situation‟ (Insdorf 1994, p.39)
+ First three feature-length films:
• Les quatre cents coups (1959)
• Tirez sur le pianiste (1961)
• Jules et Jim (1962)
12. Les quatre cents coups
+ „In his manifesto in Cahiers du cinema, Truffaut had written that
“Tomorrow‟s film will resemble its author” […]‟ (Kline 2006, p.84)
+ „The film had no such form, it was neutral; the direction was
purely moral, self-effacing‟ (Truffaut quoted in Graham 1968, p.92)
+ „[…] an extraordinary freshness and immediacy which partly
derives from their resemblance to news reporting and partly from
the fact that they are shot in recognizable locations (often in
Paris) with actors who look and behave like ordinary people
rather than dramatic characters‟ (Forbes, Jones and Kelly 1995, p.175)
15. Tirez sur le pianiste
+ „Rather than present another story about […] simple
emotions, he gave his audience gangsters, prostitutes, and a
pianist undermined by melancholy – a pure fantasy picture‟ (De
Baecque and Toubiana 2000, p.168)
+ „Truffaut‟s Tirez sur le pianiste (1960) […] although an adaptation
of an American crime novel by David Goodis, added comic
and fairy-tale elements to the basic thriller narrative‟ (Austin
2008, p.15)
+ „Truffaut has been seduced by an essentially poetic mythology
[…]: the exploitation of the fantasies of the gangster novel in
Tirez sur le pianiste‟ (Fieschi 1986, p.272)
17. Tirez sur le pianiste
+ „As I was shooting Tirez sur le pianiste I realised I hated
gangster films‟ (Truffaut quoted in Graham 1968, p.95)
+ „I emphasized the egotistical side of the artist […] so much
so that he ends up rather unattractive, very hard and almost
antipathetic‟ (Truffaut quoted in Graham 1968, p.88)
+ Truffaut also calls this movie „a film without subject […].
It‟s a grab bag‟ (Cukier and Gryn 1972, p.13)
18. Other stylistic elements
+ Truffaut did not particularly like the flashback
sequence
+ Stylistic touches that recall Godard more than
the director of Les quatre cents coups
+ There is a „palpable freedom of the character,
camera, and film itself to go where they like‟
(Insdorf 1994, p.24)
23. + „My films share a basic tension, between
characters who can accept the provisional or
temporary nature of love, and those who
demand that love be definitive. Of course we
see the absolutists as mad; yet we admire them
because we sense behind the madness a certain
purity‟ (Truffaut quoted in Insdorf 1994, p.228)
24. 1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Austin, Guy (2008) Contemporary French Cinema: An Introduction. 2nd edn. Manchester: Manchester University Press.
Bordwell, David and Thompson, Kristin (1997) Film Art: An Introduction. 5th edn. New York: McGraw Hill.
Cukier, Dan A. and Gryn, Jo (1972) „A conversation with François Truffaut‟ in Braudy, Leo (ed.) Focus on: ‘Shoot the Piano Player’ . New Jersey:
Prentice-Hall, pp. 12-22.
De Baecque, Antoine and Toubiana, Serge (2000) Truffaut. Berkley: University of California Press.
Fairlamb, Brian (1996) „Tough Guys and Fairy-Tales: A Case Study of the Influence of the Films of Nicholas Ray Upon Truffaut‟s Tirez sur le
pianiste‟, French Cultural Studies, 7(19), pp. 49-62, Sage Journals [Online]. Available at http://frc.sagepub.com/content/7/19/049.citation (Accessed :
28 January 2014).
Fieschi, Jean-André (1986) „Neo-neo-realism: Bandits at Orgosolo‟ in Hillier, Gim (ed.) Cahiers du Cinéma: 1960-1968: New Wave, New Cinema, Reevaluating Hollywood, Volume 2. London: Routledge & Kaegan Paul, pp. 271-275.
Forbes, Jill (1998) „The French Nouvelle Vague‟ Realism‟ in Gibson, Pamela Church and Hill, John (eds.) The Oxford Guide to Film Studies. Oxford:
Oxford University Press, pp. 461-465.
Forbes, Jill, Jones, Tony and Kelly, Michael (1995) „Modernization and Avant-gardes‟ in Forbes, Jill and Kelly, Michael (eds.) French Cultural Studies:
An Introduction. Oxford: Oxford University Press, pp. 140-182.
Graham, Peter (1968) The New Wave. London: Secker & Warburg.
Greene, Naomi (2007) The French New Wave: A New Look. London: Wallflower.
Harris, Sue (2000) 'Cinema in a nation of filmgoers' in Kidd, William and Reynolds, Siân (eds.) Contemporary French Cultural Studies. London:
Arnold, pp. 208-219.
Insdorf, Annette (1994) François Truffaut. 3rd edn. New York: Cambridge University Press.
Kline, Jefferson T. (2006) „Les 400 Coups‟ in Powrie, Phil (ed.) The Cinema of France. London: Wallflower, pp. 81-90.
Kuhn, Annete (2007) „The Nouvelle Vague‟ in Cook, Pam (ed.) The Cinema Book. 3rd edn. London: British Film Institute, pp. 202-204.
Lanzoni, mi Fournier (2004) French Cinema: From its Beginnings to the Present. London: Continuum.
Marie, Michel (2003) The French New Wave: An Artistic School. Translated from French by Neupert, Richard. Oxford: Blackwell Publishing.
Neale, Steve (1981) „Art Cinema as Institution‟, Screen, 22(1), pp. 11-40, Oxford Journals [Online]. Available at: http://www.oxfordjournals.org
(Accessed: 27 January 2014).
Neupert, Richard (2006) „The French New Wave: New Stories, Styles and Auteurs‟ Cinema‟ in Badley, Linda, Palmer, R. Barton and Schneider,
Steven Jay (eds.) Traditions in World Cinema. Edinburgh: Edinburgh University Press, pp. 41-51.
Sellier, Geneviève (2001) „Gender, Modernism and Mass Culture in the New Wave‟ in Hughes, Alex and Williams, James S. (eds.) Gender and French
Cinema. Oxford: Berg, pp. 125-138.
Truffaut, François (2009) „A Certain Tendency in French Cinema (1954)‟ in Graham, Peter and Vincendeau, Ginette (eds.) The French New Wave:
Critical Landmarks. London: British Film Institute, pp. 39-63.
25. –
„In films like […] Truffaut‟s Tirez sur le Pianiste (Shoot the Piano Player, 1960) cinematic echoes from the past
clearly invited a meditation not only on different filmic traditions, especially those of France and the United
States, but also on psychological and philosophical issues [our emphasis]‟ (Greene 1999, p.161).
+ Do you agree with Naomi Greene‟s statement, or is the film too farcical to
approach it in such a way?
–
„Because of various pressures, films had become impersonal. We believed that everything had to be simplified
so we could work freely […]. The deliberate lightness [our emphasis]of these films passes for frivolity –
sometimes wrongly, sometimes rightly‟ (Truffaut quoted in De Baecque and Toubiana 2000, p.172).
+ Do you think the „lightness‟ of the film‟s plot and structure can adversely
affect our view of it or does it complement the tone?
–
„As a piano virtuoso of working-class origins (origins to which his paralysing shyness attests), Truffaut‟s
protagonist incarnates the idealized figure of the artist as imagines by the New Wave auteurs: he is self-made
and abandons his concert career in order to compromise himself within bourgeois milieux, signified in the
film by the impresario character. He is a sacrificial hero, and therefore quite unlike the young film-makers of
the New Wave, who pragmatically made use of all the openings available to them through their social
background or connections in order to produce their films‟ (Sellier 2001, p.128).
+ Even thought we do not notice any exlplicit or direct political messages in
the film Tirez sur le pianiste, what connotations of such direction might we
call to attention as regards its texture? Τake into consideration the above
quotation.
26. Japanese New Wave
Tôkyô nagaremono [Tokyo Drifter](d. Seijun Suzuki,
Japan, 1966)
Koruto wa ore no pasupooto [A Colt Is My
Passport] (d. Takashi Nomura, Japan, 1967)