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160 Cards in this Set
- Front
- Back
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The Umbrellas of Cherbourg |
Dir: Jacques Demy
Year: 1964 Age: French New Wave --Plays w/ MGM musical genre w/ super colors and in-depth design --Constant music w/ no romantic utopia --Display passage of time as track Algerian War --Class dynamic: Bourgeois vs. working class and young vs. old gen's |
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The Exterminating Angel |
Dir: Luis Bunuel
Year: 1962 Age: Surrealism - Western European Auteurism --Film made w. Salvador Dali and in Spain --Bourgeois dinner party where no one can leave = social propriety fall away and primitive st's Obj real: simple filming style Subj rel: visions and fever st's Auth comm: irony and pol commentary |
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Playtime |
Dir: Jacques Tati Year: 1967 Age: France - Western European Auteurism --Story slowly builds and focus on dislocated and wandering ppl |
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The 400 Blows |
Dir: Francois Truffaut
Year: 1959 Age: French New Wave --Puts Fr New Wave on the map --Personal hist of Truffaut and subsidy prjt for filmmaker to get advance to create films --Long take of boy running w/ freeze frame end |
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Breathless |
Dir: Jean-Luc Godard
Year: 1960 Age: French New Wave --Jump cuts and break 4th wall - very realistic mvmt w/ no rear projections within car --On location shooting --No continuity editing or est'ng shot --Focus on char's & mood more than narrative to advance the plot |
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Panther Panchali |
Dir: Satyajit Ray Year: 1958 Age: Nonwestern - India and Bengali Cinema-- Film created during partition of Bengal and ref his dramas seperating Hindi and Muslim |
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Shree 420 |
Dir: Raj Kapoor
Year: 1955 Age: Nonwestern - India and Bengali Cinema |
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Mother India |
Dir: Mehboob Khan
Year: 1957 Age: Nonwestern - India and Bengali Cinema - Communist sympathies as mother deals w/ tragedy |
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Vertigo |
Dir: Alfred Hitchcock Year: 1958 Age: 1950's Hollywood **Generational shift about midlife crisis **Rebel agt weakened prod'n code - necrophilia **Mix film noir w/ 50's stereotypes = femme fatale (assist in murder) but look perfect |
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Rashomon |
Dir: Akira Kurosawa
Year: 1951 Age: Japanese cinema **Puts Jap cinema on the western map and won at Venice Film Fest **Refuse to tell which POV story was correct |
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Touch of Evil |
Dir: Orson Welles
Year: 1958 Age: 1950's Hollywood - Long take on crane = very complex |
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Le Jetee |
Dir: Chris Marker
Year: 1962 Age: French New Wave - Photo Roman --Film all images w/ optical printer to create photo essay |
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Night and Fog |
Dir: Alain Resmais
Year: 1955 Age: French New Wave **Film as political protest (pulled by studio) - doc's, photos, and curr shots of concentration camp |
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Guernica |
Dir: Alain Resmais
Year: 1950 Age: French New Wave **Part of Left Bank film intellectuals and nouveau roman |
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Hiroshima Mon Amour |
Dir: Alain Resmais
Year: 1959 Age: French New Wave --Contraditory dialgue, faltering memory, and flashbacks |
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Ben-Hur |
Dir: William Wyler
Year: 1959 Age: 1950's Hollywood - 70mm Panavision **From spectacular event to aesthetic innovation - creating a spectacle |
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Spellbound |
Dir: Alfred Hitchcock Year: 1945 Age:1950's Hollywood - Dream sequence designed by Salvador Dali |
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Red Desert |
Dir: Michelangelo Antonioni
Year: 1964 Age: Italy - Western European Cinema --Char's lose abil to speak = life crisis |
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Persona |
Dir: Ingmar Bergman Year: 1966 Age: Western European Cinema --Film bookended by montages w/ ind crisis in front (char's sep from society) |
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8 1/2 |
Dir: Federico Fellini
Year: 1963 Age:Italy - Western European Cinema --Put Italian cinema back on the map --Dir w/ creative block becomes self-introspective and has dream st's and visions --Reminder that film is a film: self-referentiality |
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Crazed Fruit |
Dir: Ko Nakahira Year: 1956 Age: Japan New Wave --Two bros w/ same girl in beach house and sense of boredom, anxiousness, and frustration |
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Cruel Story of Youth |
Dir: Nagisa Oshima
Year: 1960 Age: Japan New Wave --About st gangs, rape, sex, and blackmail --Jazzy soundtrack, handheld cameras, rough cuts |
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Daisies |
Dir: Vera Chytilova
Year: 1966 Age: Czech New Wave --Waste, boredom, and contra ideals of socialist state (critique ind's through neg means) --Irreverent youth cinema (FAMU grads) --Rebel agt materialistic society |
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Primary |
Dir: Robert Drew
Year: 1960 Age:Direct Cinema in US --Follow JFK through demo politics |
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Chronicle of a Summer |
Dir: Jean Rouch and Edgar Morin
Year: 1961 Age: Cinema Verite - Slow mvmts and long takes - introspective on eval happiness - Participatory docu more than observational - Perfectly capture time in Fr post war and during Algerian Ind |
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Kustom Kar Kommandos |
Dir: Kenneth Anger
Year: 1965 Age: Experimental Film |
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Hold Me While I'm Naked |
Dir: George Kuchar
Year: 1966 Age:Experimental Film |
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Chelsea Girls |
Dir: Andy Warhol Year: 1966 Age:Experimental Film |
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Jacques Demy |
Umbrellas of Cherbourg
Young Girls of Rochefort - no central char w/ many chance encounters "New Wave" MGM Musical - inspired by Singing in the Rain musical |
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Luis Bunuel |
Exterminating Angel
Narration as game of frustration |
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Jacques Tati |
Playtime Alienated individual w/in modernizing Paris as depicted through silent-style phys comedy --Theme: consumer capitalism = alienating --Little dialogue |
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Francois Truffaut |
The 400 Blows - Puts New Wave on the map |
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Jean-Luc Godard |
Breathless (int'l success)
Weekend - Infuse radical Marxist views into films - Hist: Learned from cine-clubs (started 1950) and 1st dir to be reviewed in Cahiers - Use pwr of silence and not cutting |
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Satyajit Ray |
Panther Panchali (1st film) Indian Belgali filmmaker and inspired by the Bicycle Thieves and Italian Neorealism --Associated w/ retrospective cinema Natural forces = keep happiness at bay while kids have no agency (observe) --Regional prod'n w/o commercial formula |
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Raj Kapoor |
Shree 420
Less imp: Mera Joota Hai Japani & Chandralekhra Chaplin-esque populist star & Bengali filmmaker --One of first int'l stars (in USSR and Japan) |
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Rabindranath Tagore |
Bengali filmmaker - "the Bard of Bengal" Won Nobel Peace Prize in Literature |
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Alfred Hitchcock |
Vertigo Psycho - birth of slasher film genre (shift hist) |
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Orson Welles |
Touch of Evil
Famous in theater (Broadway), radio (War of the Worlds), and film (Citizen Kane) |
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Chris Marker |
Le Jetee
Often associated with left bank cinema in late 1950's with Alain Resnais (mentor = Bazin) --Older & less movie crazed vs. new wave dir's --Always embrace and exp w/ new tech --Image and sound collector --Goal = pay more att'n to hist |
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Alain Resnais |
Night and Fog Hiroshima mon amour |
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Ingmar Bergman |
Persona
- ID crisis, fuzzy borders b/w self and other, perf... - Theater background - Partly inspired by Fr New Wave - no need for cohesive narrative (remind: Un Chien Andalou) - Make you think about your role in society - Switch genres and defy all expectations |
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Nagisa Oshima |
Cruel Story of Youth Night and Fog in Japan - Leads shochiku nouvelle vague - Create engaged cinema instead of apolitical cinephilia of Cahiers group (film = pol protest) |
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Vera Chitylova |
Daisies
Czech new wave - subj to censorship, more pol, Czech national ID, supressed after Prague Spring |
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Akira Kurosawa |
Rashomon
Wins 1951 Venice Golden Lion |
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Michelangelo Antonioni |
Red Desert
Contemporary alienation with Italian New Wave (Neorealism) |
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Federico Fellini |
8 1/2 Carnivalesque personal mythology with Italian New Wave (Neorealism) |
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Nakahira Ko |
Crazed FRuit
Sun tribe boom - sex and passion meet social critique b/c postwar restlessness |
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Kenneth Anger |
Kustom Kar Kommandos |
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George Kuchar |
Hold Me While I'm Naked
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Andy Warhol |
Chelsea Girls - Expanded cinema
- Most significant underground filmmaker - Include sound and rudimentary narratives - no plot and improvised dialogue - Created democratic star sys |
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Henri Langlois |
New Wave cinephile mentor to new wave generation (with Andre Bazin)
Saved many movies from WWII Nazi's (large personal collection) w/ orig negatives |
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Andre Bazin |
New Wave cinephile mentor to new wave generation (with Henri Langlois)
Famous film critic and founer/editor of Cahiers du Cinema Liked deep focus, long takes, pulls agt montage, and window to the world in a frame |
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Television (Significance to Film Industry) |
Move to suburbs post-war and less willing to travel to theaters (contracting market)
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Widescreen |
Spectacle, scale, and immersion
New possibilities: panamorphic imagery, ensemble staging, and planar composition --Lots can enter the frame or leave w/o the camera moving (Ex: Vertigo) |
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Aspect Ratio |
Anamorphic widescreen - 2.35:1
New standard - 1.85:1 Academy - 1.33:1 |
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Anamorphic Process (Cinemascope) |
Fox Cinemascope's Squeeze and stretch approach for optical process
Use anamorphic lens to squeeze the frame onto the film and project to stretch it out again |
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Cinerama |
Multi-projector widescreen system to create large spectacles with expanded screen size (more in the frame)
--Create events unlike TV - not practical for mass prod'n |
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VistaVision |
Flat 70mm widescreen process with no optical distortion plus higher resolution 70mm frame
--Improve qual of anamorphic process Phased out w/ improvements to anamorphic scope process --Turn film on side - more perforations and visual info on screen |
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Long take |
Touch of Evil
Widescreen encourages composition over montage - cause and eff are contained w/in same shot Against montage - cinema as window on world (from neorealism) |
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Differentiation |
- Vivid color from Technicolor to Eastmancolor
- 50% Hollywood films in color by early 1950's - 3D as a novelty - Stereophonic sound and immersive experience - Widescreen: Spectacle, scale, and immersion |
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Segmentation |
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Production Code Admin (PCA) |
Ind initiative put in place in 1930-1968 --Manage the image of Hollywood and give approval to all films Olig fall = prod'n code lose pwr & enforcibility as prodr's disregard more and more --Ex: Nicholas Ray - Rebel w/o a Cause |
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Paramount Decision |
Studio sys weakened and contracting domestic market for films
Paramount charged as monopoly by Supreme Court (violate anti-trust) and forced to change oligopoly studio sys = lose owned theaters Open mkt for ind prod'rs & actors = more mvmt |
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Hindi Film (Masala) |
Masala = mix of spices (genre mixing)
Song and dance numbers w/ pop music Hollywood style w/ local features (appeal mass audiences including poor and illiterate) --Compete in US and primary mass entertainment in Non-West |
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Bengali Film |
Representation of Third Cinema = cinema from the third world (India = one ex)
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Bengali Renaissance |
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Nation-building |
Post-ind India after 1947 ind from Britain w/ nation-building
--Want cohesive nat ID w/ soc reforms Challenges to national project - India as amalgamation of local cultures and lang's --Probs b/c urbanization |
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Neorealism (relevant to 1950's cinema) |
Moral forces, fate, hist necessity replaced w/ chance and contingency as themes
--Gains new formalist dimensions |
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Tradition of Quality |
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Auteurism |
Name: la politique des auteurs, caméra-stylo --Camera as pen to write a film Agenda for Cahiers critics = become filmmaker --Revisit pers memories and issues of ID |
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Dedramatization |
Time/perception over action
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16mm |
Experimental film and becomes commonplace as lower cost and easier access
--Light-weight cameras and lower cost New trends: camp, expanded cinema, structural film, footage comilation |
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Reflex Viewfinder |
New tech protability innovation - mirror behnid lens for eye-level viewing
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Lightweight cameras |
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Zoom lens |
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Left Bank |
Film intellectuals led those of the Fr New Wave Film in convo with lit, painting, moral, and pol issues Alain Resnais and Chris Marker |
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Cahiers du Cinema |
Fr New Wave magazine created where dir's can have voices and create distinctive works
Reevaluate filmmakers as artists |
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French New Wave |
- Years: 1958-1963 (Nouvelle Vague) - Belated appearance of 40's films in Fr post WWII (smaller Fr film ind since post WWI) - Bob Le Flambeur = 1st film (or pre-cursor to) the fr new wave |
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Cinematheque Francaise |
National archive with origins in Langlois' collection - saved old filmes from Nazi's
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Cinephilia |
Mentors to New Wave generation: Henri Langlois and Andre Bazin
Belated appearance of 40's Am films in France Cine-clubs and film hist emerge as discourse --New generration = Young Turks |
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Intertextuality |
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Personal film |
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Postwar Modernism |
Revival of modernism = tackle themes of alienation and ID crisis in postwar capitalist W. Europe
--Target secular ind - impressionism, cubism, and futurism (play w/ light and tim) --Form/style over content/narrative Sex and passion postwar in Japan Socialist realism new paths = Eastern Europe |
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Reflexivity |
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Non-Transparent/Experimental Narration |
Transparanet = visible as we experience narration as part of the text
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Subjectivity |
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Alienation |
Brechtian dramaturgy = origin
Broaden gap b/w aud & screen to force aud to revolt agt gov and realize true probs of world --Trick = breaking the 4th wall Dont get lost in emo's but be aware, be critical, and try to learn |
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Signature style |
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Vertical integration (Japanese studio system) |
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Sun Tribe (Taiyozoku) |
- Portray priviledge and restlessness among postwar generation
- Sex and passion meet social critique Ex: Crazed Fruit |
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Shochiku Nouvelle Vague (Nuberu Bagu) |
Jap studio sys models US but outlives w/ more vertical integration - Build thea's near train lines and mass prod films - New wave NOT express what happening in true society but things happen of their own accord --Lack subject and ID in society - Films soc engaged and have pwr and agency |
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ATG (Art Theater Guild) |
Support Japanese New Wave films w/ cinema as underground art
--Raise $$, get involved in prod'n, and share costs |
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Independent Production |
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Direct Cinema |
Kino Pravada Salesman Gimme Shelter Style = blunt and straight forward --Created shoulder-mounted tripod |
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Cinema Verite |
Coincide w/ left bank docu's, New Wave, AND auteuristic art film (but in diff context as ethnographic film)
--Less essay and more observational French style compared to Direct Cinema Want cinema to tell the truth but include camera (participatory) --Subj's respond to selves on screen, concern w/ ethics, provocative, self-reflexive, |
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Experiment Film |
Structural: Break down film frame byy frame and cut by # of frames
Lyrical: Perceptual discover and parallel w/ French Impressionalism Compilation (found footage): Random images and themes over dialogue and narrative From Atlier to underground: Social scene of erotic, sensational scandal, break boundaries Camp: quirky, weird, nicke, cheesy... artifical for perf but lined w/ seriousness |
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Underground film |
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Camp |
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Indian Independence (history) |
1947: Indian ind - break away from Britain
Dadasaheb Phalke = father of Indian cinema created Raja Harishchandra (1st native film) Remains informal w/ no monopoly structure - non-regulated by govt |
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Decolonization (history) |
Many nations starting to gain ind = new local film mkts and new opp's
Interconnectedness of the world |
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Algerian War (history) |
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Cold War (history) |
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Destalanization (history) |
Death Stalin (1953) = relax communist policies and energies move from local mvmts for nationalism
Hungarian revolution = put down violently by USSR --E Eur liberated by USSR post WWII |
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Eastern Bloc (history) |
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Bonnie and Clyde |
Dir: Arthur Penn Year: 1967 Age: New American Cinema --One of 1st graphic films after dissolve studio sys and prod code (new std's = acceptablity) --Very episodic feel in middle (wandering) --Very agt "the man" and establishment (allegory to real life) --No lesson learned - just died helping man --Came out during box office all-time lows |
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The Graduate |
Dir: Mike Nichols Year: 1967 Age: Youthpic/New American Cinema --Closer to real life b/c end prod'n code = pol, rock music, sexual freedom --Style: auteurism w/ POV & subjectivity, very cinematic, zoom for emo eff, rapid cutting |
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Easy Rider |
Dir: Dennis Hopper Year: 1969 Age: Youthpic/New American Cinema - Follow 2 hippies on motorcycles transporting cocaine (psychedelic mvmt) - Stars actually tripping acid |
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The Godfather |
Dir: Francis Ford Coppola Year: 1972 Age: New American Cinema |
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Badlands |
Dir: Terrence Malick (debut film) Year: 1973 Age:New American Cinema --Beautiful film about serial killers and show complexities of youth & isolation from society --Film to encourage philosophical debate --Detached narration and melodrama but juxtapose as art w/ society = corrupt |
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Jaws |
Dir: Steven Spielberg Year: 1975 Age: New American Cinema |
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Star Wars |
Dir: George Lucas Year: 1977 Age: New American Cinema |
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Memories of Underdevelopment |
Dir: Tomas Guttierez Alea Year: 1968 Age: Political cinema (latin america) --Bougeouis Cubans leave as revolution forces take over but one rich man stays behind to reflect on underdeveloped Cuba (vs. West area) |
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Chronicle of Anna Magdalena Bach |
Dir: Jean-Marie Straub and Daniele Huillet Year: 1968 Age: Political cinema --Bach's life through letters to/from wife w/ marital hardships, $ probs, & real constraints under which he made some of his best music --No pol's but create very diff sense of how music is prod'd (alienate aud) |
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Weekend |
Dir: Jean Luc Godard Year: 1967 Age: Political cinema --Not care for aud, super long scenes (no purpose), obsurdist, no profound moments --Little linear dir (sim to "Daisies") --Class struggle and undermining capitalism - tractor scene = obvi pol message (all = bros) --Critique the ind vs. society --"But my best handbag" = only funny moment |
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Xala |
Dir: Ousmane Sembene Year: 1975 Age: Political cinema (africa) --Corrupt ppl take over country and corrupt gov officials cant sleep w/ wives --Parody of pwr transition from Fr gov to local Senegal gov |
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Douglas Sirk |
From Germany and created sensational technicolor melodramas
Ex: Written on the Wind |
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Warren Beatty |
Bonnie and Clyde star
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Mike Nichols |
The Graduate
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Dennis Hopper |
Easy Rider
Rebel w/o a cause |
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Terrence Malick |
Badlands
Debut film was Badlands and considered one of the best dir debuts EVER |
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Steven Spielberg |
Jaws
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Francis Ford Coppola |
The Godfather Explore how ppl live and work together to escape from society (auteur) |
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George Lucas |
American Graffiti, Star Wars, Indiana Jones Semi-autobiographical and coming of age stories |
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Jean-Marie Straub and Daniele Huillet |
Chronicle of Anna Magdalena Bach Important pol filmmakers - examine Eur culture and Greek canons --Materialist approach to western culture |
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Ousmane Sembene |
- Famous dir from Africa = Senegal and part of pol activist mvmt
- Moved from writing novels to films to reach broader aud and critically look at pol's in Senegal |
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Bertolt Brecht |
German poet, playwright, and thea dir that created alienation eff concept Point of ref for pol modernism Goes back to greek models of thea (aristotle) to create emo attach w/ func as emo catharsis |
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Fernando Solanas and Octavio Getino |
Members of Grupo Cine Liberacion --Ppl need to survive but want to subvert the sys --US = spectator cinema doing nothing to move culture forward or progress |
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Tomas Guttierez Alea |
Memories of Underdevelopment
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Rainer Werner Fassbinder |
Bitter Tears of Petra Von Kent --Non-Brechtian but position himself as opp Brecht --Emo's = useful and overdoing them creates critical rel to social critique and pol intrigue |
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New American Cinema |
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Youthpic |
Movies target young aud and work w/ counterculture
Close to everyday life b/c prod'n code ends = pol, rock music, sex --Rescue ind from box office lows as ind restructures w/ films small part of large org --Less prod'r centric more dir w/ creative cont --Bonnie and Clyde = game changer |
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Conglomerates |
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Modified Classicism |
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Blockbuster |
Good for exhibitors and bad for prod'rs (much competition and expensive)
Conglomerate approach: film prod'n = part of larger co structure --TV invest b/c need content to put on air (screening rights) --New trad of qual w/ prestige over pol engagement and auteurism |
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Political Modernism |
- 70's film rebounds as commercial narrative w/ new blockbuster model
- End of "grand narratives" - Franchise model w/ sequels and trilogies = allow co to expand creative IP in new dir's |
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Third Cinema |
Newly dev'ng countries post-colonial and recently ind films --Pol consciousness to front, inspire revolutions, mass experiences, uncensored and realistic --Organic expression of opinions fighting for ind or under dictatorship (underground) |
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Young German Film |
Reflect on war and Nazi regime w/ critical eye (not emphasize hist or Nazi's in large roles)
--Formal experimentation of new wave 70's = student and anti-war mvmts |
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Oberhausen Manifesto |
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Brechtian Dramaturgy |
- Uses distanciation, anti-Aristotelian “epic” style - During 60s/70s war, womens lib, civil rights mvmts - Alienation - Point of ref for pol modernism characterizing changes in Ger modern cinema |
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Civil Rights Movement |
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Vietnam War |
Officially 1955-1975 but late 60's and early 70's = most protests & campus demonstrations |
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Postwar Subject-Matter & Differentiation Strategy |
- Focus on niche mkts = more diff movies - Sensationalism - 3D novelty - More 1/2 films shot in color - Widescreen - Sexploitation - Long take = more pop in 50's (less montage) - Stereophonic sound & immersive experience |
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Color |
50% movies in color by early 1950's From technicolor to eastmancolor - differentiate films from TV |
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Written on the Wind |
Dir: Douglas Sirk Year: 1956 --Melodramatic critiques of Am society and pushes boundaries of acceptable --Use technicolor = amazing |
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Rebel Without a Cause |
Dir: Nicholas Ray Age: Youthpic - counterculture - Discuss contemp social probs and working around norms - Work w/ normative images but take on big issues (overprescription of cortisane) |
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European Art Cinema |
Much less concrete plots and characters - much more authorial From anti-war to politer, more muted modernism (visual style moves to forefront) --More focus on image & less on techniques (Brecht) |
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Film Festivals Postwar |
Cannes = 1st fest Very imp in W. Eur and structured int'l countries to compete against each other |
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Retrospective Cinema |
- Parallel cinema - Come out of cultural mvmt - Indian Ppl Theater Mvmt focus on reflecting on ppl's lives - Draw on pop drama w/ Euro techniques - Films = more pol |
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Left Bank Intellectuals |
Francois Truffaut Alain Resnais: Cineaste of his memory, experimental narrative, and nouveau roman Chris Marker: Essayist of memory, time, and perception to bring discourse to film --Older than Cahiers group |
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Bob Le Flambeur |
--Bob = 1st gangster --Written: Jean Pierre-Melville --Fr New Wave |
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Nouveau roman |
Rejected the plot, characters, and omniscient narrator central to the traditional novel in an attempt to reflect more faithfully the sometimes random nature of experience. |
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Realism |
Narration no longer apparent --Objective realism (from neorealism) = long take, dedramatize, and nat setting/sound --Subjective (from psych/flashback/mood) = visions, dream st's, and common in 20's films --Authorial commentary (self-ref) = att'n to mat's and way that autuers create char's and what they share w/ aud |
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Robert Drew |
Dir'd Primary - Develop image-centered docu (against verbal narration over explanation) |
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Jean Rouch |
Ethnography of colonialism Style: Concerned w/ ethics of docu filmmaking and how they connect to subj's --Cinema verite age |
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Czech New Wave |
- Last b/w 1963 and 1967 - Young dir's do short films w/ no particular style - Famous dir: Milos Foreman - social criticism, isolation, satire, eroticism (common themes) - Less char dev't, unnatural cam angles, mock society (usually communism = bad) |
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Novi Film |
Yugoslavian Black Wave as worker councils gain more pwr in industry (critique capitalism) Janeso = famous Hungarian dir - critique the present through the past |
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Zeitgeist |
Communist gov's w/ film ind's subsidized and owned by the st (films essence = pol) New wave emerges during new rofrm post Prague Spring (1968) |
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Communist/Socialist Ideologies |
Pos st propaganda Exhalation of proletariat Class critique/marxism Collective over the ind Promote efficiency and discourage waste |
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Stan Brakage |
Surrealism and impressional - film the act of seeing the world not the world itself |
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Frederick Wiseman |
Titicut Follies (undercover journalism in women's institutions) High School (probs = sexism, racism...) |
