French new wave
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The French New Wave of the 1960s abandoned traditional narrative techniques in favor of symbolism and abstraction. Directors like Jean Luc Godard and François Truffaut dealt with themes of social alienation, psychopathology, and sexual love. In the 1950s, French film critics formed the influential journal Cahiers du Cinema, which rejected classical studio filmmaking in favor of techniques like location shooting, natural lighting, improvised dialogue, and long takes that placed emphasis on the scene over editing.
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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.
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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.
Understanding cinema:french new wave,italian neorealism and indian parallel c...
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
Film Studies preparation note for NTA NET.pdf
This document provides an overview of major areas and movements in film studies, including:
- Film as a technology, covering early developments from kinetoscopes to talkies.
- Key film theories like apparatus theory, auteur theory, psychoanalysis, semiotics, and feminist film theory. Theorists discussed include Baudry, Sarris, Freud, Lacan, Mulvey, Metz.
- Major film movements like German Expressionism, Soviet Montage, Italian Neorealism, French New Wave. Directors and films from these movements are cited like Lang, Eisenstein, Rossellini, Godard, Truffaut.
- Additional topics covered include French Poetic Realism,
New+wave
The French New Wave was a film movement that emerged in the late 1950s as a rejection of the prevailing mode of literary adaptations and Hollywood emulation in French cinema. Young film critics at Cahiers du Cinema, like Truffaut, Godard, and Chabrol, revered the long take and rejected montage. In 1959, seminal New Wave films like Resnais' Hiroshima Mon Amour, Godard's Breathless, and Truffaut's The 400 Blows were released. The New Wave films used techniques like location shooting, available lighting, handheld cameras, and jump cuts that broke conventions and gave the films a casual, improvised feel.
Auteur theory
The document discusses the theory of auteurism in film. It began in 1950s France where critics argued that directors had a personal creative vision that shaped their films, and that certain directors like Howard Hawks, Alfred Hitchcock, and Jean Renoir should be considered "auteurs". The theory was popularized by François Truffaut and other critics writing for Cahiers du Cinéma. It was later adopted by American critic Andrew Sarris and influenced how directors were analyzed. However, the theory was later criticized for overlooking collaboration and privileging the director's role too much.
Summarised theory list
Formalist film theory analyzes the technical elements of a film like lighting, editing, sound and how they work together to create effects and communicate ideas to the audience. It looks at how individual elements or the synthesis of multiple elements like editing, shot composition and music in Sergio Leone's films build tension. Formalism embraces both ideological and auteurist criticism by focusing on style, either how socioeconomic pressures influence a style or how directors put their personal stamp on material. Alfred Hitchcock is cited as an example of an auteur with a distinct style seen in his editing, camerawork and themes.
avant-garde.pptx
This document discusses the history and evolution of avant-garde film. It begins by defining avant-garde as innovative art that breaks from tradition. Avant-garde film rebelled against corporate film studios. Major avant-garde movements discussed include Futurism, Dadaism, Constructivism, and Surrealism. The stages of avant-garde film are described as subjective cinema, pure cinema, and surrealist cinema. An example of an avant-garde short film from 2000 called "The Heart of the World" is provided.
French cinema presentation
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
Auteur Theory And Its Implications
This document discusses the auteur theory, which holds that a director's film reflects their personal creative vision. It originated with French film critics in the 1950s who argued films should reflect a director's style. Key figures who developed it include François Truffaut, who coined the term "la politique des Auteurs" and emphasized the director's role. The theory was later adopted by directors of the French New Wave and influenced film criticism. It justifies analyzing a director's body of work and recognizing their personal stamp on films. The document provides background on the theory's origin and development and its emphasis on identifying directors as "auteurs" through their distinctive style.
Cinema verite-and-direct-cinema
Direct cinema developed in the 1960s by the Maysles brothers who wanted to compare reality to common opinions. They filmed events without manipulation to challenge other documentary modes. Cinema verite is a style combining naturalistic techniques with editing and camerawork to provoke subjects. It is also known for taking provocative stances. Warrendale and The War Room are examples of direct cinema and cinema verite respectively that observe events candidly.
de Beaufort AA ch10
This document provides a history of cinema and discusses important developments and innovations in the medium. It covers the early innovations that enabled motion pictures, pioneers like Méliès and Griffith who developed editing techniques, experimental filmmakers like Dalí and Buñuel. It also summarizes the introduction of sound films and major directors from various countries, the rise of special effects with digital technology, and the growth of video and digital art.
How editing has changed over time
Editing has evolved significantly over time from early films with no editing to modern techniques. Early films had no editing and were single shots showing activity. The Lumiere brothers developed the first motion picture camera and projector. Edwin Porter introduced dissolves between shots in 1903. D.W. Griffith developed continuity editing to seamlessly match shots. Soviet montage editing used collision of shots to convey ideas. Sound editing began with recordings and The Jazz Singer in 1927 introduced synchronized dialogue. Modern editing is done digitally on computers with advanced software.
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French new wave
- 1. A movement in French cinema in the 1960s, led by directors such as Jean Luc Godard and François Truffaut, that abandoned traditional narrative techniques in favour of greater use of symbolism and abstraction and dealt with themes of social alienation, psychopathology, and sexual love. http://www.thefreedictionary.com/new+wave
- 5. Improvised dialogue and plotting
- 7. Long takes
- 8. In the 50s, a collective of intellectual French film critics, led by André Bazin and Jacques Donial-Valcroze, formed the groundbreaking journal of film criticism Cahiers du Cinema . Cahiers had two guiding principles: 1) A rejection of classical montage-style filmmaking (favored by studios up to that time) in favor of: mise-en-scene , or, literally, "placing in the scene" (favoring the reality of what is filmed over manipulation via editing), the long take, and deep composition. 2) A conviction that the best films are a personal artistic expression and should bear a stamp of personal authorship, much as great works of literature bear the stamp of the writer. This latter tenet would be dubbed by American film critic Andrew Sarris the "auteur (author) theory."