Final Exam 3 Films and Terms

Film Noir (Hollywood Styles): *"Woman in the Window" (1944, RKO)* *Director: Fritz Lang*

*"Woman in the Window" (1944) is directed by Fritz Lang, the German director who made "M" and who drew upon Expressionist tendencies* *Film Noir* is a FRENCH WORD--American films made throughout WW2 were dark and gritty and shared a style. Most were BLOCKADED during WW2 because Germany occupied France, but after the war there was an INFLUX of all these films and when seen all at once, the French noticed a pattern and dubbed it "Film Noir" -Extra profit for US -French critics see 10 years of American films in 2-3 years, notice things Americans didn't notice because there was GRADUAL change -*Dark, low-key, crime, grim convoluted plot* -Visually and THEMATICALLY *ambiguous* -*Crime books--"dark series" by Chamberlain etc, pulpy novels influence these crime films* -*Film Noir is SIMILAR to hard-boiled fiction* -*Wilder, Fritz Lang and co. made THRILLERS, Crime Thrillers--only at the end of these movies was the term "Film Noir" lightly applied in retrospect* -*STYLE, not genre--crime melodramas with SHARED TRAITS* *Film Noir:* --A "Style" that *becomes a "retrospective category"* --A *flexible web of cinematography techniques, themes, and narrative structures* -*from "Maltese Falcon" to "Touch of Evil"* (Eventually "Neo-Noir" was called a genre in the 1960s) *Conventions of Visual Style and Narrative Themes* -Much *comes to America by way of Europe (Germany)--Billy Wilder and Fritz Lang come to Hollywood* *Shared Traits* -*Visual style* --Emphasis on *graphic qualities of the image* (From Murnea's "Caligari", shadow and patterns etc) --*Canted Angles* --*Oblique lines within the frame* --*Sometimes extreme wide angle lenses were used* '--*"American Expressionism"--General similarities with late 1920s and early 1930s, German talent is behind the camera* --*Strong lines and Low-key lighting* ---*Low-key lighting=a low key level, low brightness is NOT bright, in "Double Indemnity", the surfaces are patterned, drawing attention to screen as graphic expression of character psychology--SHADOWs* -*"Woman in Window"--Framing through glass is an expressionist development by Lang* --*Canted Angles*--in *"M", the bully man and the small man, showing size differences*, and in *"Woman in the Window", as it gets DEEPER into the dream, the camera sinks LOWER as the professor sinks lower too* *"American Expressionism" and "Citizen Kane"* -*Chiaroscuro lighting=low-key*, *dark image* with *strong flashes of light* -*Strong depth of field* -*Extreme angles* -*Visuals are given THEMATIC significance--with "Kane", Welles and cinematog Tolland develop and employ a whole style* -"Kane" projection booth, the only light comes from the projectors, LOTS of darkness and shadow, actors come INTO light rays -After Kane loses the election, there is LOW ANGLE used to show how Kane is crushed, feels LOW -Ending of "Double Indemnity" when the main character limps into the office building where he works, where lighting is very stylized, and he limps into the doorway, there is depth to create tension etc. -Depth was made prominent by Kane -*lines, diagonals, shadows, depth* -*Lighting and the graphics of the film frame reflect the DESCENT of the character* -*Drag the audience down through character* -*Descent of mild mannered assistant professor in "Woman in the Window" is DOOMED from the start, with the VENETIAN BLINDS and his lecture about murder, in a happy classroom an a happy wife going away, slowly SLIPPING into low-key and dark chiaroscuro world, inappropriate tale, warning signs, and descent* -Into the woman's apartment, there are warning signs--*turn on lights one by one---makes different levels of lighting FILLING the room, there are 4 lights to TURN OUT after the murder too* -*lower and lower key=sinking down into grimness* -*on his own the prof. can turn out lights WITHOUT the help of a woman, and he sits in his chair--DEPTH* -When he has reached his limit, going to OVERDOSE, he wake up etc -This is *influential, experimental, pushes possibilities--the "Citizen Kane" for Film Noir* -*Take styles and devices and blend with themes and conventions* --With "Kane", it is *not easy to follow--you have to work for it* --*soft focus is phased out, deep focus is PROMINENT, Hwood uses Deep focus but TEMPERS IT* -*DEPTH--establishing shot of guy checking in room in "Double Indemnity", not conventional but clear* -Phillis visits Walter after hours, and Edmund G. Robinson comes in and almost catches them--Phillis hides behind door, WE all know she's there but trying to keep her hidden from Robinson--Suspense and tension are created* -Uses a "soft focus" closeup on Phillis, device is broadened and made *more functional in storytelling* -Like with Caligari, Murneau took something and learned to use it in different places -Indemnity, soft over the shoulder shots--temper "Woman in Window"--Woman is *in the background in doorway--object of desire and result in one frame=Don't give into desire--hat on the bed is a bad idea, etc.* *Innovation in the Studio Era* -Innovative techniques are introduced by groundbreaking films that make style noticeable -Kane uses ELABORATE and obtrusive deep focus compositions -*Techniques are modernized and adapted* -*"Woman in the Window" Uses deep focus to suspense and expressiveness* -*Hard-Boiled Fiction in 30s and 40s* -*Dashell Hammett (Sam Spade)--revision of classical detective, like Sherlock Holmes, into a tougher persona -Raymond Chandler (Philip Marlow) -*Detectives who come from the gutter, not from elite backgrounds, classical techniques* -*Alienated heroes in a cynical world* -*awareness of VIOLENCE and its corrupting power* -Paranoid stories that spiral downwards -Procedures of Crime--we get to *work out how the murder works step by step* -*Street slang* and *stylized writing* hardboiled POETIC style comes from JOURNALISM, -Sensationalist, sexualized, Hard-bitten -"Once Off Guard" was a BOOK by J.H. Wallers, pulpy, source for "Woman in Window"--Worlds of Paranoia, *DEEP paranoia* -*When Prof. and Ms. Reed get out of the taxi at her place for the 1st time, a passerby stops and looks---you identify with the conflicted hero/antagonist* -All these filmmakers were *looking to catch a deeply paranoid vision of the world--Deep SURVEILLANCE, no personal rights---Lang explored this in America, but he did this in "M" too, flees Nazis* -*The walk along the fence scene in "Woman in the Window", when the camera dolly's along one side of the fence, the fence makes LINES--suggests they are not alone--trying to find privacy in a public space* -Who they meet in public space, we get *reminders of where he came from--when Prof. and Reed meet in a lit but sinister hallway, he passes her poison while a mother and son pass by to the elevator--This is a dark world of no return, and the prof.'s own family is recalled* -*Film Noir usually does NOT have a happy ending* -*Suicide feels like the LOGICAL conclusion to the film*, which is a *downward spiral* and *paranoia* -*2nd Source to Film Noir Narration: From "Citizen Kane"* -*Flashback Structure* is used for *THRILLERS*--storytelling as a genre: *conventional plots* and *playful narration* (from Kane) -*"Double Indemnity"* ---Flashback structure, starts with hero's death ---Casts all events in a PESSIMISTIC light ---You KNOW where it goes, yet still feel surprise and suspense at dark moments and feelings -*"Woman in the Window"* ---*All a dream*--relief it's all over, makes it work ---*Dream Logic* of *repeated images--the "noose" tightens more and more (suspense)* ---creates a *closed, inescapable world*--*uses dream to give you extreme paranoia* *1. Saying bye to wife and kids 2. Clocks all over 3. Hats--all over--WHITE STRAW BOATER HAT--worn by a lot of people in the movie, worn by the man they kill--on the couch, put in the car, the professor BURNS it, then it is worn by the inspector, then it is worn by the bodyguard, on the TABLE--he waves it around blatantly--then in the elevator, and at the END, the hat check is FRAMED by boater hats* -*Everything repeats around our hero* --*Statue of venus becoming woman=desire* --*Mirrors*--Lang's use of *depth, out of frame--depth seen in mirror* -How this film works: Lang *controls viewer attention and plays games with you using deep space and low-key lighting* --Scene, when prof. puts body in car, he *left his vest inside*--*We are aligned with the MURDERER*-Land *controls what we see to PUT US in the shoes of our hero*--*at first it seems like the woman locked him out*, he turns to press the button and we realize *he does not even know her name, does not know what name to buzz, and she has his vest* -The clock shows it's *2:40, not 2:15, indicating that he is later than he said he'd be* -Depth---need to get the body to the car, hide it---depth is used to create suspense--*seeing things OFF SCREEN we dont get to see* -We are WITH the murderer, worried about him -*Depth--through doors, through front window into 2nd window into building and we see the doorway into Reed's room--see the PATH that he needs to take, a dangerous path* -*activates off screen space we did not know existed---she looks up the STAIRS* -*Directing attention--he can't get in, then camera moves and shows her there again, and she unlocks the door* --*Coast is clear, then back inside, then cut outside and we see a taxi drive up, now we FEAR for her and him, she does NOT KNOW--things can happen when we are not looking* -*Cut in when it's important to WITHHOLD info, sometimes we see what SHE does NOT* -*Shows the distance he has to go, he carries the man, then 2nd door closes, makes you aware you don't know what happened off screen--keeps you in suspense--control of space and frame* *Reasons for production:* -*Industrial factors* --*High demand encourages INEXPENSIVE productions.* --*Film Noir="B" productions, "Double Indemnity" and "Woman in the Window" are High-budget EXCEPTIONS* -It is a "filmmaker's genre", *potential for social criticism--make darkness and to go out of the social world*

Cinema becomes "Contemporary": *"Umbrellas of Cherbourg/Les Parapluies de Cherbourg" (1964, Beta Film + Madeleine Films + Parc Film)* *Director: Jacques Demy*

*1964* France makes its own "Hollywood" musical -Major TIME OF CHANGE in the industry -Made by Jacques Demy -New Wave GOdard and Truffaut, Demy is a New Waver whp LOVES visua storytelling of freed unit at MGM Instead of CRITIQUING the Hollywood image like Breathless does, Demy takes the Hwood musical and turns it on its head--3 films--Lola 61, Umbrellas 64, Les Deuases de Rochefort or something -DOING NEW THINGS WITH CONVENTIONS OF MUSICAL -Hwood couple finds love and stylized idealized world -DEMY BEGINS in an idealized world but turns into MORE--Never realistic, musical of progression, compromise, the poignancy of loss etc, DEMY pushes color design --color separation tells story, mom left in green, daughter right in blue *"Umbrellas of Cherbourg"* *color--color and set, compare to Hwood musical, GDigs, 42nd St, Applause IMPOSSIBILITY

Egypt (New Cinemas): *"Cairo Station/Bab el hadid" (1958)* *Director: Youssef Chahine*

*Egyptian Cinema* *Egyptian Film industry is something like a SMALLER BOLLYWOOD* -*Major production center in Cairo* *2/3 of films made in Cairo, it is the CENTER of Egypt cinema* *In the SOUND era, production values go WAY UP, to the levels of the REST of the world* *1.* *Station: modeled after WB, all sets, department, etc.* *WW2 ban on foreign films--produce around 50 films a year, early sound era, Egyptian cinema made MUSICALS and SUCCESS in other markets. THEN star-driven like Hollywood and Bollywood, plots of EXTREME EMOTION, the cinema of the middle east. *1952 Nasser revolution, new gov't set in place* -*anti-monarchy state* -*Postcolonial/anticolonial, anti-British* -Nasser-*SOCIALISM for the PEOPLE* -*Film to criticize old regime* -*Focus on lower classes, show class divide* -*Youssef Chahine grows up,born 1926, he studies at Alexandria, leaves to STUDY DRAMA, then at 24 he begins filmmaking BEFORE revolution. For 30 years he made a film a year. wide range of genres* *"Cairo Station"* -*50s Egyptian take on on Neo-Realism, impulse to CRITICIZE old regime* -*Neo-Realism DIED* -*UNLIKE Italy, Egypt has no problem dwelling in high-melodramatic places. The plot intersects cultural change, set in this REALISTIC world with high drama plot. Police brutality, the rise of feminism, etc.* *Chahine himself plays the lead role* -*Hend Rostrom="Marilyn Monroe of Egypt", *film is CRITICIZED at time for being a bad image of Egypt, like Italian Neo-Realism, it was seen as not representing the worker well* --It has a *New Wave Feel. Breathless came out same time, so there is a similar energy* *Cairo Station* --*Youssef Chahine-1958 Realism* *Cairo integrates "Egyptianization:, NOT a Egyptian city in East anymore, Now ARAB only.* *Suspicion of Upper Class, filmmakers can take up struggle of the poor, *social realism* *Egyptian Social Realism* --Came in early years of the Nasser gov't --*Exposing class exploitation , stories of the PEASANTS and the URBAN POOR--"fellahin"* --*Location shooting--Documentary feel* --*Cahine likes shooting in, on, and around trains. He makes use of what he's got. * --*Real sense of danger. shot on LIVE tracks* --*Train station as a MICROCOSM--allows Chahine to to find an intersection of Egyptian culture--Upper class, lower class, villagers, men who harass women, etc.* -ALL seem to converge on the station. -"Bicycle Thieves" --travels to show different people, here it is STATIONARY--Keep the poor poor *Quanami--wants to get wife and money and go back to his village. Chahine shows *how impossible this dream is* -1955 Nasser builds colossal statue of Ramses II, it was NEW, and when QUanami stands next to it it shows his inability to succeed or achieve that *peripheral/intersecting stories, borrowed from Neo-Realism--Chahine is influenced by "Bicycle Thieves"--Narrative structure--CAMERA can leave the important characters to focus on the street characters* --*looser C and E* --Cairo Station---used to MULTIPLY the peripheral stories, the *main story is one of many* -*Main Quanami plot, the social and political plot of UNIONIZATION, not resolved* *Chahine gives ONE big scene to the actor who plays Abu-Serih, we NEED to unionize, he says, and it goes in during the disintegration of QUanami* The story of *a young girl in love but her family does NOT know, waits for her lover at the station, gets gawked at, he arrives in a LIMO, CLEARLY different class than her, he LEAVES her and it's NEVER RESOLVED* -Then SOCIAL AND POLITICAL, YOUNG PEOPLE -Tock n roll band takes over a train car-Hanami joins in, gets caught up in the energy, glimpse of cultural force of western values on Egypt -Unlike "Bicycle Thieves", where peripheral details are in Italian element, here, peripheral details *are parts of Egyptian films* *One side: Realism/social realism* *Other side: it's a MASS ENTERTAINMENT film, it's related to GENRE* *Mass entertainment genre Elements* -*Stars* -*Melodrama* -*Visual Stylization* *Chahine combined political issues with elements of MASS ENTERTAINMENT* -A film built out of Egyptian genre conventions---2 HUGE stars in it: Farid Chawki, a big action star, and Hind Rostom, the sex appeal. -For the REALIST role, Chahine casts HIMSELF---builds his OWN star image as director -Actors in a real location---enact a melodrama with the killer, blood, tension--Action film packed with melodramatic situation with TRAIN approaching them and a MADMAN with knife holding the damsel captive *Moody, noirish world--Chahine is *influenced by Expressionism--goes after a highly Expressive treatment of actors and locations, with HARSH LIGHTING. Hard cuts, madman eyes closeup + cut to him against the wall---High angle shot of clock, wide angle used in Police Station shot. Low Angle--looks like a crime melodrama for Hwood--Beginning of movie, narration starts, with the newsstand operator and caretaker describing how he found Quanami and felt bad and such, then it CUTS to Quanami's room and we AND the father figure find out Quanami is a huge pervert who lines his room with sexy pics of women, NOW IT's DIFFERENT. -*Kind of madness--1st sociological explanation of the station, the center of civilization, THEN shifts to a strange mystery/thriller, something bad happened--becomes SOMETHING LIKE "Taxi Driver"--discover our protagonist is INCREASINGLY UNHINGED, sexualization and story of a madman -*Instead of giving us a happy ending like a commercial mainstream cinema would do, he gives us a non-ending--Quanami tricked into thinking it's his wedding, TRICKED into a straight jacket--statement on the treatment of the poor0---got bad guy--Then last shot lingers on the girl, eft by her lover--melodramas will CONTINUE TO HAPPEN. *Chahine makes commercial thriller with PLAYING with characters* -Cairo Station--A commercial crime melodrama and Anti-hero and social realism and somber ending. *A failure at the time, nobody liked it because it was disturbing, not big in Egypt, more success abroad--

The French New Wave: *"Breathless/À Bout de Souffle" (1959, Franco London Films/SNC, 1960)* *Director: Jean-Luc Godard*

*French New Wave* -*European art film* *Factors Favoring International "Art Cinema"* --Rise of *Film Festivals* and *Film Journals* -*Government subsidy* -*Auteur criticism* --*Alexandre Astruc, "Le Camera-stylo"* --*Cahiers du Cinemá, Andre Bazin critic* --*Youth Culture/Young Cinema* --*French New Wave: Godard, Truffaut, Chabrol etc.* *Art Cinema*--define themselves as *having greater artistic merit than other films--NOT our judgment* -It is a *MODE/Style of filmmaking arising in POSTWAR Europe* -*"Bicycle Thieves" and Italian neorealism were early art cinema, reacting AGAINST fascism and wartime documentaries--got acclaim internationally, turned into Art Cinema movies shown at "Art cinemas" showing NICHE FOREIGN FILMS* *Factors that Lead into Art Cinema* *1.* *Film festivals/journals*, began in 1930s in Italy and France, people *write about film as art*, anti-fascism *2.* *Government Subsidy*--Post WW2 attempt to support film via GRANTS/SUBSIDY--to *hold off the American market*--U.S. Had LOTS of movies to give to Europe and PROFIT--European government support *3.* *Auteur Criticism*=Directors are important, those who created the film--idea that the *director is the author* -Term was *coined by French critic Alexandre Astruc in 1948, he wrote "Le Camera-Stylo", went AGAINST the idea that writers are artist, literary adaptation only--Astruc said the DIRECTOR IS AN ARTIST*--*taught students/followers art* -Directors build *star images for themselves* -*Students of these art directors took ideas TOO FAR, though* -*Starts right after the war, Fellini, Bresson, Bergman 1950s--Top directors as auteurs, people wanted to "be the next Fellini" etc.* *4.* *Youth Culture/Young People* -Postwar goal was to *target young people audiences, French New Wave=shows rise of youth culture, mid-late 1950s,--TV cuts 1/2 of film audience off* -*New economic boom + new generation with MONEY, producers look to *exploit young people in cities* -*Families have moved to the suburbs and watch TV instead* -*1953--government starts SUBSIDY to help young filmmakers make films--1959 submit script to WIN FUNDING from state* -*Encourages young directors with support* -*New Wave Breakthrough--Godard, Truffaut, Chabrol etc.* -*Les quatre cents coups*--*Breathless--2 big films of 1959/60* -*Appealing to producers because FAST and CHEAP, shot ON LOCATION, MOBILE, and the "risqué-ness appeals to youth* *Writers/auteur critics write their OWN IDEAS about film vs. Films themselves* -*Conflict between critic and filmmakers* -French New Wave opens DOORS for this kind of film, *international niche marketing* *Art cinema through generalizations* -Art cinema is a *FORM of Postwar Modernism* -NOT just one way to define it *Garbage and Art can be found in ALL genres* -*Modernism is a trend in the arts*--refers to the trend of 20th century art that takes on representational aims of art and FLOADS traditional films--can be political or themed of IDENTITY* -*Goes AGAINST form* -*1920s modernism--Montage, French Impressionism, German Expressionism* -Re-arises after the war in a *reaction against fascism, the Nazis DESPISED modern art as "degenerate art", they KILLED artists and burnt art* -*Postwar Aims differ from hardcore prewar--experiment while STILL appealing to a wide audience* -*Still tell a story, compromise between avant-garde and story* -*French New Wave is the "child of L'Atalante"*, *Jean Vigo is the POSTER child of modernism* *French New Wave is MADE BY CRITICS* *Postwar Modernism has 4 Elements* *1.* *Objective Realism* Truer to life, always defined by BROAD conventional rules--stylistic choice, LOCATION SHOOTING, casting Non-Actors, etc. Real world style--HANDHELD, extras walk past each other, etc. *Narrative loosening of Cause and Effect* --*often a REFUSAL to tie up everything at the end* *2.* *Psychological Realism* -*Traditional film had REDUCED people in films to CHARACTER TYPES who go and do something. MODERNISTS say "let's capture characters' Mental lives* -*Dreams, hallucinations, thought processes etc.* -*WANDERING characters with NO CLEAR goals, etc.* -*Poetic Realism ongoing* *3.* *Authorial Commentary* (KEY to modernism/New Wave) -*Traditional Storytelling Films--HIDE the director as an artist, TOO MUCH about characters* -*Modernist filmmakers can point out to audiences that some OTHER force (the director) is COMPELLING EVENTS* --*FLASHBACK or SOUND CUE/Commentary to film style, (NOT so important in Italian Neo-Realism)* *4.* *Ambiguity* -*Encourage viewer interpretation, French New Wave films are made by the critics, NOT everything is answered in these films.* -*Revising traditional Hollywood traits* -We know character psychology/authorial commentary, part of Mainstream cinema in some sense, Modernism was about *going a different route than mainstream--it creates "elitists" with self-indulgent tastes who think art cinema is the only good cinema* *Breathless* -*Made by Jean-Luc Godard* -*Started young* -*Shot CHEAPLY and quickly* with a TREMENDOUS amount of vitality *DYNAMIC editing* inspired Tarantino, Scorcese etc. -*Dedicated to Cheap "B" crime films* -*GENERIC PLOT*--Michel kills policeman and needs to get the girl and run. It is a *loving deconstruction of Hollywood and pulp cinema* *1. Realist* *2. Authorial Commentary* --Blend of modernist themes/thinking and Authorial commentary --How film narration works: Plot *guides the viewer to CONSTRUCT the story in your HEAD* -A filmmaker has a story in mind, and the BEST he can do is to create concrete images and soinds to TRY to convey story, and YOU fill in what is omitted* *CONVENTIONALLY, image and sound is linked with CUES to create a STORY that you FILL IN. A pic of a gun and then cut to someone falling signals GUNSHOT in your brain. Cues for story just create engaging narrative. An emotional experience.* *REALISM has OTHER element--Viewer has to make sense of UNCONVENTIONAL CUES--into realism and authorial commentary* --*WE* must *MAKE meaning of it.* *The ODD parts are the director's art style* *Cinematic Modernism and "Breathless"* * *REALISM* *1.* *Documentary Realism AKA Camera Realism* ---seen as *more realistic in how we interpret it* ---*Real locations*--less control over locations ---*Handheld camera* ---*Violations of Continuity Editing--flip characters in frame* ---*Direct Sound* ---*Immediacy and improvisation--feels right in front of you*, intent is to refer to a REAL or FICTIONAL world. *"Breathless"* uses *documentary techniques* to film a *fictional world*--*location gets in the way--Interview with author at the airport--LOTS of cuts, unclear because of location limitations* *Overblown lighting--very BRIGHT light creates silhouettes, Patron's apartment and restaurant--can ge away with it because it's New Wave -Walking and talking, HIDDEN camera---*set was not closed, so they let extras walk back and forth, throw something at the actors that THROWS them off and forces them to improvise, like when a guy asks for a match and Michel's actor is BAFFLED and tells him to piss off* *Direct Sound=SOUND ON LOCATION, in airport--hear engines interrupt the dialogue* *2.* *Psychological Realism* It is *the world more lifelike as we LIVE IT. The HUMAN experience of the world* ---*Drifty Characters* ---*Loose causal structure* ---*Time to Express and Explain psych* ---*Dead Time* *Italian Neo-Realist version of psychological realism* --Since we do not live cause and effect lives, in the film world things JUST HAPPEN -*Characters act in IMPULSE. Main actor playing Michel leaps out of car and lifts a girl's skirt JUST BECAUSE* -*Random accident in street--BRIEF, it reflects on him, he just walks off* -Characters converse, *discuss their mental states*, seeing REAL time, TALKING ABOUT LIFE, ART, SEX, etc. Thought to be more realistic characters than Hollywood stars. *Characters REFER TO HOLLYWOOD STARS. But they are NOT those stars.* -*Dead Time*--scene drags on, no seeming goal, you are SUPPOSED TO BE BORED in the bedroom scene, action at start then a 30 minute scene in a 90 minute movie takes place in this bedroom. *Open endings* If the film does NOT represent the real world, it MUST be the director who is making film unique *Authorial Commentary* *Deviations from the Norm attributed to the presence of a NARRATOR* --*Unusual Cinematography* --*Unrealistic shifts in setting or mise-en-scene* --*Obvious Discontinuous Editing* --*Sound/Image Mis-Matches* --*Self Reference* --*Ambiguous Motifs* Michel dresses like the stereotypical gangster in crime thrillers, with the hat and the coat and the sunglasses. He thinks he's so cool. Acts like this character even though hes in a different kind of world. Dead time, Michel in car, JUMP CUTS, he talks TO the camera, WTF moment, you hear him singing, then he goes through radio stations and hears HIMSELF singing on the radio *Jump Cuts--feels like somebody starts and stops* -*SOUND IS CONTINUOUS across jump cuts. Image is discontinuous* This is *NOT realistic. Here is a moment to cue us into the fact that it's a MADE OBJECT, a MOVIE, made by a DIRECTOR* -*"Pa pa pa patrice..." etc, jazz music, cuts, driving, talking to camera, then it BECOMES LIKE A TRAVELOGUE of France, CHOICES made by the directory* --Gunshot sound from older Hwood B flick plays, we do not know if Michel fired the gun he finds or if it is just a sound effect *Reference to Eisensteing's "Battleship Potemkin", when Michel shoots the cop, the SHOOTING is BROKEN DOWN INTO MULTIPLE SHOTS, like the shooting in Potemkin* *Godard is a fan of Eisenstein. Jump cuts to serve style and reference Potemkin. -when Michel awkwardly runs in an abrupt cut after the broken down shooting part, it is FUNNY and awkward, the director's funny quirks. *Highly reflexive--small things MEANT to be noticed by fans, making INJOKES about film in film, references MELLVILLE film, "Bob le flambeur" (Bob the gambler) Bob Montagne--*taking plot points to Bob le flabeur---Godard further CASTS Mellville as the poet in the film *self reflexive moments--references to the DETECTIVE genre, a film that KNOWS it is art and an illusion. If you are distracted from character, it's because it's a MOVIE and it callls attention to it* *Interpretation*--endpoint is to *MAKE YOU THINK* -You are *given motifs that repeat and ACRUE MEANING. Lips rubbing--what's it mean when Michel does it, and at end Patricia rubs HER lips mysteriously? *HIGGINS INTERPRETATION OF BREATHLESS* --It's *NOT about reality or being in the real world, it's ABOUT THE NATURE OF CINEMA.* -*Godard used to write about cinema, now he does CRITICISM with a CAMERA* --*Proper lighting and FX DRAIN THE LIFE OUT OF A FILM, and Godard wants to GO BACK to film BEFORE it learned the rules of storytelling* -*Lip rub is a MOTIF of self-representation--HUMPHREY BOGART did that lip rub, and it is BOGART that Michel looks to, he wants to HAVE THE REPUTATION OF THE type of GANGSTER THAT BOGART PLAYS*--Not a person, but an idea. *Start with the IMAGE of Bogart, and newspaper put down and it is revealed that Michel is dressed as a "bad guy" in his hat, cigar, etc.* *Patricia looks in a mirror and practices moving her face in different expressions* --*Godard keeps showing Patricia with art near her--using art of camera and art of painting etc. ALL art is represented here, a painting is JUST as artistic as a comic book.* -The whole line at the end, Patricia figures out WHO HER CHARACTER IS. SHE is the Femme Fatale, the one who'll turn Michel in. Then she takes on his image, copied from Bogart, of the lip rub. *Images of things being represented and repeated in the "real" world* *Effects of Cinematic Modernism, Narrative, and STYLE* --*Encourage the viewers to watch HOW the film is being presented--demands you notice the ACT of storytelling* --*Demands viewers pay attention to narration*. Why is the story being told in this manner? How? Who is organizing it? *Make demands on viewer DIFFERENT from mainstream cinema* -It CAN become elitist, undervaluing popular cinema--most filmmakers LOVE cinema, New Wave filmmakers LIKED popular movies, telling a story is still important. *Principal New Wave directors had been critics for "Cahiers du Cinema"

Postwar Indian Cinema: *"Awaara [aka The Vagabond]" (1951, All India Film Corporation)* *Director: Raj Kapoor*

*Indian Cinema* -On a whole, Indian commercial cinema is DIFFERENT than Hollywood, it really is *its own thing* -*Overwhelmingly musical* *Formula=3 songs and dances* --*NOT "musicals", because genres are supposed to DISTINGUISH films--it is easy to OVERSTATE importance of music* -*Indian cinema films are SOLD ON THEIR MUSIC and dances--Songs are played EVERYWHERE* *Movie music IS popular music in India* -Oftentimes, the *success of an Indian movie is determined by whether or not its music is a hit* -*"Awaara"--hit song is the TRAMP song* -Movies have *"Song Selection" menu* -Complex *blend of Indian dance music and Western forces* -*Influences from Jazz and contemporary pop* -*Stars RARELY sing their own parts* -*Playback Singers more popular than the stars. Audiences enjoy SPLIT PERFORMANCES, and see a FAMILIAR FACE and hear a different familiar VOICE * -*Synching not very important* to Indian cinema -Audiences recognize singers and stars -*A Few singers do songs for MOST of the 500 movies in a year* -*Playback singers*--*Chand Mathar Makesh*--Voice of Raj Kapoor, and *Lada Mangeshkar* voice of Nagris --HUGE superstar, sang until recently (87 years old) *Factors Favoring Cinema in India* -Territory is divided into TWO PARTS, Pakistan and India. *India is Hindu, Hindi speaking* -*HUGE population* -*Increasing Urbanization* -*Rural, diverse, largely ILLITERATE* -*Large populations benefit film industry* -*Many theaters, LOTS of viewers, PROFIT* -*Cinema proved to be POPULAR ENTERTAINMENT because it PROVIDES SPECTACLE* -*SPECTACLE* draws in large, illiterate, domestic audience -Audiences are *avid about film*--Large crowds gather to all go to movie shootings--they *all want to see the stars* -*Massive enthusiasm*--Indian cinema is *NOT big in the US or Europe*, but *big in Asia, Africa, Middle East* *Indian Film Industry* -*Production centers: BOMBAY (modern Mumbai), Madras (Chennai)* -*Independent Production*--Distributors do NOT OWN THEATERS, so *independent filmmakers and producing companies have LONG dominated the Indian film industry* -UNLIKE the Hollywood studio era -*Exhibitor Financiers*--*control over films--push for certain things* -*push BANKABLE STARS and COPIES of US films, and SEQUELS* -*Little gov't support*--*Censorship prohibits controversial or SENSUAL material (NO KISSING SHOWN)* -*50's ban on indecorous dancing* -*Pressures* help explain why filmmaking in india is *standardized*--*traits recur* -*6 songs, 3 dances* -*Broader style of filmmaking* -More *implausible narratives, COINCIDENCES are more accepted* -*Star-centered* -*Emphatic dialogue--Clap-worthy lines* -*Exaggerated, stylized performance--characters in broader strokes, NOT BOUND BY REALISM, NOT historically accurate, NOR is there a specific need for a real location* -*Tolerant of fantasy--departs from U.S. Experience of verisimilitude (striving to appear real)* --*Different conventions of verisimilitude--we expect events to be PLAUSIBLE, morality and kinship* --*Interactive audiences* --*conventions of realism are less necessary, the plot has implausibility, like how mom gets run over RIGHT before the trial by the JUDGE* -*Kinship* is *extremely important in Indian film* -*If codes are transgressed, son kills mother or father causes son to be in a sad life--LESS accepted as believable* -*In Hindi cinema, emphasis is on EMOTION and SPECTACLE* -They *KNOW the stories an the formulas--interested in what stars do, how EOTION is ratcheted up, and interested in hearing the MUSIC* -*STARS, EMOTION, MUSIC* -*Audiences INTERACT--clap on good parts, sing along, cheer, cry, recite, see MANY MANY TIMES AGAIN OFTEN* -*Great celebration of Star System in India* *Raj Kapoor*=*Film star, DYNASTY film--1924-88--in "Awaara", Raj's REAL FATHER played the judge, and his little brother played young Raj* -*FAMILY* -Raj is a director AND actor-*Raj particularly played tramp characters* -"Awaara" is so successful that Raj acted alongside Nagris for the NEXT DECADE -*HUGE SUCCESS, Great performance* -*Raj's stardom and popularity---ENTERTAINMENT is MOST important, BUT "Awaara" still has social commentary* *Screenplay of "Awaara" by K.A. Abbas* *1950s issues:* *--End of the Caste system (environment rather than birth, nature vs. nurture)* *--Critical of social institution--argues that nurture/environment is EVERYTHING* *--Man can change--institutions are HARSH, teacher refuses to keep teaching Raj, employer fires Raj because of criminal record, etc* *--Urbanization--anonymity and social mobility* *A Hindi formula: Family Melodrama mixed with Songs and Dances* -*PARTS over whole--collection of POWERFUL PARTS that do not all necessarily fit together* -*Disparate moments: silly slapstick (tramp number), heights of romance (beach scene), depths of despair (mother hit by car and dies)* -*strong emotional situations organize the film* -*Strong MORAL POLARITIES/BINARIES--(Jagga=Evil, Rita=Good)--RESOLVED in DREAM SEQUENCE--Raj is torn between 2 polar destinies* -*Mistaken identity and Coincidence*--to *get from one emotional situation to the next to the next*--Mom to courthouse to give vital testimony to save Raj's life only to be RUN OVER and DISFIGURED, it's BRILLIANT because it allows 2 more dramatic situations to play out* *VISUALS affirm the polarity--Knife to the judge, Raj shatters the photo of Rita--from evil act to GOOD Rita* -*Visual Hyperbole*--*No shame, ALL tricks are used to generate an emotional effect over the audience*--*CAUSE emotions* -*Stylistic elements in song and dance cause emotions* -*Powerful scene of Raj's father BANISHING his mother before he is even really born--LOW KEY lighting, RAIN effects, a SONG plays, and like all cinematic registers it is being used to deliver a STRONG EMOTIONAL PUSH* -*Move the viewer by ANY MEANS NECESSARY*, because Indian cinema so BRAZENLY tries to move audience, it often gets laughed at, but *honestly it is refreshing--there is PURITY OF INTENTION, and ENTHUSIASM in delivering an emotional experience USING the tools of cinema* -*Indian cinema SURPASSES Hollywood in the NUMBER OF FILMS MADE, and the audiences who watch* -For many in the world, *this is cinema*

Italian Neo-Realism: *"Bicycle Thieves" (1947)* *AKA Ladri di Biciclette, 1948* *Director: Vittorio De Sica*

*Italian Neo-Realism (1945-51ish) is a REACTION against fascist "Cinema of Disdain" -*Poor People, social problems, realistic settings, small occurences, non-actors* *Focus on the working class, change in acting style--using LOWER CLASS ACTORS* -*Embraces moments/scenes NOT in cause/effect relationship bc it is CLOSER TO LIFE* -*Classical film techniques with Distinctive subject matter* -Focus on the lower class, *camera techniques and mise-en-scene is less important to this type of cinema* -*Unglamorous depiction of lower classes* -*Small, everyday situations* -Performance style -*Non-actors*, effort to *depict lives of ordinary people, not dazzle* -*ANONYMITY of performer--often they reprise reprise roles they play IN REAL LIFE--UNPOLISHED performance* -*Use of non-actors is NOT abandoning control-They can take directions well and they get close to the real experience because they can bring their own experiences to the table*--"Roma Citta" used real resistance troops who MONTHS BEFORE were really fighting -*NOT well known to audiences* -*Close to neorealist aims of ORDINARINESS, concentrate on CHARACTER* -*The man who plays Ricci is a FACTORY WORKER* *Narrative Structure* -*Loosening of Cause and Effect8 -*Expansion* of *Small events* -*COINCIDENCE* -Viewer *watches all events with same interest* -*Focus on everyday events---leads to loosening of C and E, but HOW is it achieved?*--Sense of a *SERIES of events* through *Expansion events* --take a *moment that has SOMETHING to do with the goal, such as the SEARCH for the bicycle* ---*RAIN*, Bruno and Ricci *must wait by the wall*, *it is EXPANDED*--German church reps also stay by the wall, the film *dwells on it--the German church reps are NOT there to help find the bicycle, and therefore it is EXPANDING an UNIMPORTANT moment.* (Sergio Leone, director of Eastwood spaghetti westerns/Dollars Trilogy plays a German church rep in glasses) -*Fortune Teller*--She gives *non-helpful advice* to Ricci--desperation of church, they KEEP SEARCHING--*not necessary to the plot* -*COINCIDENCE*--Things just happen--After Ricci and Bruno see the fortune teller, they *happen to see the thief in the alley* --*In Neo-Realism, just like in real life, we can't always see why things happen*--UNLIKE Hollywood films, *Neorealist films can can draw our attention to details of mundane events because we CANNOT tell significant details--ALL events become interesting (Bruno's short steps vs. Ricci's bigger steps) -More *pauses for digressions* to follow what is *visually interesting rather than important*--like the *street urchin with the accordion, the camera FOLLOWS him and leaves Ricci for a moment--it is a DIGRESSION* -IT offers a *broader snapshot of the poor in Italy*--the down on their luck poor, seeing fortune teller for advice, waiting in line for that etc. *How Bicycle Thief fits within the HISTORY of Neorealism* -Came out when *Neorealism was fading* -Post War--*Italian Spring*=an effort to *solve and address working class problems* -*Leftwards movement, ends in 1948 when leftists are booted out, and CONSERVATIVES take over* -Atmosphere *not kind to neorealists* -Efforts to *show prosperity, not the working class* -*No single group really liked neorealism in the first place* -Even the LEFT did not like it or find it helpful, *presents problems, NOT SOLUTIONS* -It seemed Neo-Realism was running out of steam in 1948, *A lot focused on war* *"Bicycle Thieves* -It *Revitalizes Neo-Realism, push in a new direction* --Channels the *conventions of Neo-Realism into something more about psychological drama*--Important for film's success, *goes beyond social issues* -*Explores relationship between Ricci and Son Bruno* -*STRUCTURE of "Bicycle Thieves"* *Part One*: --from the *start to the church* -*Causal and GOAL oriented*--*need bike for job, get bike, lose bike, find bike* -Audience is caught up in Ricci's search, *it works because the film brings us on a tour of social institutions* in postwar Italy, it *shows these institutions can't/don't help*--the *police cannot help, even DISMISS the importance of the bike* -*Later, Ricci visits communist party* --He is *shushed and ignored, the INDIVIDUAL IS LEFT OUT* --The *church* also is NO HELP, *refuse food until the service, not much suggestion of caring* --*Socially critical tour of institutions* --*Critical of communist society* --*Climax at church, when B and R follow old man* !!!!!!*Part Two*!!!!!! -*Shift in focus away from bike TOWARD relationship between father and son* -*Argument*, father *slaps son*, BRIEF SEPARATION, momen when Ricci and us fear Bruno's drowning, it's *another kid drowning*, Bruno and Ricci *eyeline match* then restaurant -*Not goal oriented anymore*, less of a "search narrative" and *more examination of father and son relationship* -*Interest* is *less on bike being found, more on HOW THESE EVENTS will shape Bruno and Ricci's relationship* --*Moving more and more into a PSYCHOLOGICAL/RELATIONSHIP drama* -Building up Bruno and Ricci relationship helps set up the ending *By the end, it's about father and son* -Ricci is *HUMILIATED*, Bruno is *SHATTERED* by what he saw* -Emphasis on *shame* and *reconciliation* between father and son, *holding hands* --*Nicely binds together social issues to individual emotional issues* -Early Neorealist films were about the WAR, social issues -"Bicycle Thieves" is more of a FAMILY DRAMA, not as specific to Italian history, *success internationally* -It *links a looser plot structure (interest in event rather than cause and effect) to EMOTIONAL exploration and psychological drama, and it influenced art-cinema movements in this way*

John Ford's Western (Hollywood Genres and Auteurs): *"My Darling Clementine" (1946, 20th Century Fox)* *Director: John Ford*

*The Western* -*1910s and 20s, the western genre starts, SHORT ACTION FILMS* -*1930s*--western genre *DIPS in prestige, B film CHEAP for rural markets, sold on state's rights* -*Key stars of 1930s*: *Buck Jones, Bob Steel*, *Studios Monogram and Republic--"Poverty Row"* -Late 30s, westerns *rise in prestige* --*John Ford's "Stagecoach" (1939) was highly influential, influenced Welles to make Kane etc. and revitalized Westerns* --*Jesse James, Dodge City---Studios put MONEY into Westerns* -*War--War flicks* -*Post war--Prestigious, mainstream westerns* *Ford's career DEFINES the western postwar* --*"My Darling Clementine" (1446)*, "Fort Apache" (1948), "3 Godfathers" (1948), "She Wore a Yellow Ribbon" (1949), *"The Searchers" (1949)*, "Wagon Train" (1960), "Two Rode Together" (1961), *"The Man Who Shot Liberty Valence" (1962)--Ford's "farewell to the western"*, and "Cheyenne Autumn" (1964) *Ford's "Stagecoach" revives the Western genre in 1939* -During the war and in the late 1920s and 1930s, *Ford explores other genres* "Cheyenne Autumn" (1964)--Native American perspective, Trail of Tears tragically portrayed, *people are going back and making statements about violence* -Western *begins fading in the 1970s, dips in the 1980s* -*Much like the musical, there are now around 2 westerns a year* -*Western gets film into academia, it's been around forever* *Late 1960s=Western Late Revisionist Period* *50s and 60s, the Western QUESTIONS ITSELF* -It's *unique to American culture, gets American academics interested* Document on *Kitses' approach to the Western* -How academics understand film, what do they miss and catch? *Genre theory with some concepts* *Structural/Reflectionist Mode of Genre Criticism* -*Kitses says structures are OPPOSITIONS* that have cultural values -*Genres have a SOCIAL function, the best way to define it is on SOCIAL RELEVANCE* --*Society is fractured/contradictory, and the genre you pick is a way to make sense of society* -*Claude Levi-Strauss, Anthropologist*--Genres *mediate social contradictions*. *Our culture is BUILT out of things that do NOT add up* Example: In *Star Wars*, the *Death Star=evil machine/controlling/oppressive*, but the *Millenium Falcon=crap but it flies great easily*--this is *contradictory technology* *Social Function of Genre (Kitses)* -Instead of saying Tech is fascist", like criticism, *genre gives both sides* *Genres mediate social contradictions (STRAUSS)* -he says *westerns mediate "contradictions of the American mind"* -The *western represents America*, it makes a *unified assumption of all American culture* -This is the Western as a *dynamic structure* or a *field of cultural values* -The *Manual* of American culture is always *IN FLUX*, it is *DYNAMIC* -A *varied and flexible structure...shot through with archetypal elements* -Needs to *define structural elements of the western* (pg 66 of document) -There are *Opposing things*, you want both but which do you want -*The individual vs. the community* -*Nature vs. culture* *Each has a positive and a negative association*, the western is *uniquely suited to see BOTH play out*. The *torn individual sees the western to see these 2 mesh together* *THIS IS A CONTESTABLE ARGUMENT. (Why are the Italians so big about Westerns, then?)* -We *NEED culture and community to live that way* -*Narrative structure can be laid out well--what gives us opposition?* --In *"My Darling Clementine"* *Wilderness (Monument Valley, wild, cattle)* vs. *civilization (CHURCH being built, town of Tombstone)* *Monument Valley* vs. *Tombstone* *Saloon* vs. *Church* *Poachers/Indians* vs. *Law* The *Clantons belong in the wilderness (West)* *Wilderness=West* ------- *Civilization=East* Clantons ----------------------- Clementine *Wyatt Earp* *Doc Holliday/Chihuahua* -*The INTERESTING characters live BETWEEN East and West. They move BETWEEN the wilderness and civilization with AMBIVALENCE* -*Earp* is a *classic mediating character*, he comes from *cultural ideals/Farm, but he JOURNEYS into the wilderness* -*Barber Chair*--Earp *comes from range*, wants to get a *shave but gets shot at*--*He can't escape the wilderness* *"Man who knows Indians" = White man off range*, who's *"KNOWN WAYS OF SAVAGERY"* but *fights for civilization*, he *can't be part of it because violence is the COWBOY method (violence is SAVAGE, not civilized)* -The *Easterner Clementine* gets *Earp to promise to come back*--maybe one day he'll be part of civilization -*Woman is a figure of CIVILIZATION, bastion of values to TEMPER the cowboy* *Earp=CLASSIC cowboy, represents VIOLENCE vs PEACE, WILDERNESS vs. CIVILIZATION* -*More Interesting* are the characters of *Doc Holliday and Chihuahua* --*Doc* ---*Can't mediate.* He is *torn between two extremes*, *incapable of controlling desires*, *alcohol* and *roaming as an individual*---*NOT with the law*--He *WAS a surgeon, now he is the West* --*Chihuahua* ---Also *torn between Native American and Mexican West*, she is *trying to be a PART of civilization as a PROSTITUTE, she can't be proper, the only place for her is as a SHOWGIRL on the fringe of civilization* -*Saloon is the CORRUPT side of civ* *Saloon exists BEFORE the church*, it is where Doc and Chihuahua can *survive on the EDGE*, *loose values, attractive to MANY audiences* --The *lure of getting out of law, to INDULGE and feel PLEASURE--the Saloon becomes the conflict between East and West* -Earp (Law) vs.. Doc (wild) vs. Clantons *CLantons and Yurick actor* --The *saloon becomes a hospital for Chihuahua, the Eastern attentions meet WEST, Eastern MEDICINE, EAST AND WEST ARE UNITED* -There may be a *chance for Chihuahua to be PART of society*, she *DIES and DOC FAILS. It is DARK* *Earp and Clementine are the BEST of the East* -*Doc is full of LOATHING. Doomed, infected, he is a "Film Noir" character in a Western* -There is no escape from the dark world -Noir haunts the Western genre -*If civilization is to take root, then Doc and Chihuahua must be purged/die* -Doc and Chihuahua are *so vital that even after death, darkness remains* -*At the end, Earp looks at CHIHUAHUA's window* -On the surface, the film *says we can get rid of Clantons, build a school yet UNDER THE SURFACE darkness lingers* -Plot *reduced to thematic elements and described by cultural criticism--works for the Western, it REDUCES film to these generalizations:* ---*Idea of BORDER of Wilderness vs. Civ* ---*1860s FRONTIER remains.* *OPTIONS*--you *value the wild, but CANNOT ENGAGE IN IT* -The *Pleasure of the Genre=Negotiating cultural oppositions* *Structural/Reflectionist Account of Genre Pleasure* -Audiences are *attracted to genres because they negotiate CULTURAL OPPOSITIONS* *(This is a theory/argument, NOT a fact)* --*reflects values audience believes in, reflects it back*--the 1970s and 80s is *FAILED* attempt to *apply structuralism to other genres, musicals, horror etc.--it FAILS* - *Post Structuralist: Cultural context is EVERYTHING, and not everything is definable by cultural oppositions* -No stable point of meaning but *for culture, subjectivity is everything* *John Ford's Auteur Power* --*Unique* as a filmmaker, he *had power to define cinema on their vision*--Hitchcock, Ford, etc.--they are often *given scripts to shoot* *Ford had SO MUCH CONTROL* --He made *many films and mastered the craft* -Used *experience to get power* -*Success=power, WW2 Films=Power* -*Collaboration with screenwriters--Ford picked his own screenwriters, journalists, and collabed* -Ford had a *REPERTORY of actors* (John Wayne, Henry Fonda) --*they KNOW what Ford wants* -*Location shooting*--Monument valley is good for *expressive compositions*, and it is *AWAY FROM THE PRODUCER'S EYE* -*"Editing in Camera"=Only shoot takes you NEED to make the scene work, only give editor a few shots, to ONLY give what he wants* *Ford is self conscious about toying with the conventions that he helped set in place* -*"My Darling Clementine" is a DEEP LOOK about what are benefits and limits of civilization vs. nature, Ford EXPLORES DUALITY* *"My Darling Clementine"* -It is a *poetic meditation on the wilderness and civilization* -A *"gunfight on the O.K. Corral film"* -*It was an overdone type of film*, yet *Ford pulled a "Sisters of Gion" and PLAYS with conventions, uses it to make an interesting film* --*Starts with Revenge Setup* with *brother being killed --Then *it stops*--Interesting Doc Holliday exploration, *revenge takes a back seat to allow interesting comparisons between Holliday and Earp, self-destructive friendship of rivals (East and West clash)* -*Memorable Shakespeare scene*--Holliday can quote Shakespeare, he's well educated, yet he's an outlaw ish type and a drunk too, wouldn't seem the type --*Hints of Romance*--Ford prefers only to SUGGEST romance visually, with Clem and Earp *walking together, dancing* etc. -*A film devoted to exploring themes and textures, rather than telling the story* -*Ford Themes:* -*Conflict of FREEDOM and RESPONSIBILITY*--Kitses calls the *American clash of oppositions*--*Doc escapes responsibility*, *Clementine embodies responsibility*, *Earp is responsible for the town yet he leaves at end* -*Nobility of outcasts*--Oucasts--*commentary on the limits of civilization, they are outcasts yet noble* -*Sacrifice for Community* *Ford distills Narrative situations into strong visuals* -*Hard Focus, deep staging, and Distinct plays of light and dark* -*One image shows the story* -*"Stagecoach" to "Kane"* -*Ford continues using this style* -*Obsessive control of composition* *Saloon Surgery* --*Civilization under threat* ---*ONE light source amid darkness. Controlled lighting* ---*Clem arrives--super nicely lit, staged, striking image, the shadow vs. light gives this weight*--*Clem trying to bring Doc back to civilization*--*Beauty of oppositions, visuals compare Chihuahua and Clem* -*Ford uses strong compositions to communicate things about characters* -*carried drunken out of saloon brawl--ICONIC* -*Image of power of law in West* -*Little camera movement, compositions draw into shot* -*Murnau influences Ford* -*Fox* set of *"Sunrise"*, *Murnau teaches directors including ford, gives them a sense of lighting and depth* *Visual composition--After the surgery, Earp and Doc and the Bartended drink at the counter, Clem is at door in background, Holliday leaves storms out, and the LAMP IS REMOVED and suddenly it is DARK, and Earp the hero leaves out of the DARK room, into gunfire* -*Chihuahua is taken down from her room to the saloon for the surgery* --*Light sources--set interiors, DARK, Doc in shadow* -*Ford also worked well on exteriors* --*Going out onto location and finding ways to embody meaning of film* -*TOWN/VALLEY dwarfs the characters* -*Half-built church=cradle of society at edge of wilderness* -History is unfolding around these characters, Ford had *67 wagons* moving back and forth from left to right, because he wanted to make it feel like a *LIVING WORLD* *Ford Style* -*Monumental explorers* -Expresses the *tenuousness of civ.* -*Individuals against epic backgrounds* A *Laconic style* -Powerful *understatement* -The *O.K. Corral* scene has *no music, Violence is shown as a sombre ritual* -*No celebration of victorious music* -Men *do what they have to do*, *mourning emotional tone* -End--*Earp shakes Clem's hand--NOT liked by preview audiences, the pre-release version RETAKES the end in a kiss* --Ford knows typical genre conventions, and he *wants to give attention to images though, AVOID standard fare* *Long on action, short on dialogue*

The Left Bank Group

-*Also in the late 1950s, the loosely affiliated group of filmmakers called "Tive Gauche"/Left Bank emerged* -Mostly *OLDER* and less movie-mad than the Cahiers group, they *saw cinema as akin to other arts, PARTICULARLY LITERATURE* -they *practiced cinematic modernism* Directors: *Alain Resnais, Agnes Varda, and Georges Franju*

Film Festivals

-*An International initiative of the postwar era, it was a COMPETITION among productions to WIN PRIZES awarded by panels of experts.* -*Films shown "in competition" would be high-quality representatives of a nation's film culture* -First was the *Venice festival run by Benito Mussolini between 1932 and 1940* *Film festivals helped define the public conception of advanced European cinema* -*Festivals also showcased films that might attract freign distributors. Winning a prize gave a film an economic advantage -Festivals---Venice Film Festival was REVIVED in 1946, and there were festivals in Cannes, Locarno, and Karlovy Vary* They spread all over, to San Francisco and London and Germany

Coproductions

-*Coproductions was one tactic for challenging Hollywood's domination of the film market.* -Producers drew cast and crew from two or more countries under agreements that allowed the project to qualify for subsidies from each nation. *So both nations helped finance the film* -*Usually there was a majority and a minority partner* -International accords stipulated each countries' responsibility -They *spread out financial risks, allowed producers to mount bigger-budget fare, and gave access to international markets* -*Quickly became central to European filmmaking*

The Andreotti Law

-*Giulio Andreotti was the state undersecretary in charge of entertainment, looked for a way to slow the advance of American films while also curbing the embarrassing excesses of Neorealism* -*The Andreotti Law went into effect in 1949, it required 80 days to be set aside for Italian films per year* -*It also required that for each imported film, the distributor had to provide Italian film production an interest-free LOAN of 2.5 million lire* -*Not only did it establish import LIMITS and screen quotas but it PROVIDED LOANS to production firms.* -To receive a loan, *a gov't committee had to approve the scripts* -*Films with an apolitical slant were rewarded with larger sums of money*, and it *could be DENIED an export license* if it was deemed that the film *"slandered Italy"*. It thus *created preproduction censorship*

"All-India" Hindi Filmmaking

-*India*---British government divides colonial territory and creates the predominantly *Hindu nation of India* and the predominantly *Muslim nation of Pakistan* -*august 1947, India is inde*, *Prime Minister* Jawaharlal *Nehru* undertakes *reforms, abolished caste system and promotes women's civil rights* -*Many Indians were illiterate* -*Hundreds of Independent Producers take over after studios collapse, money from distributors and exhibitors=THEY have control of scripts, casts, budget* -*Many unfinished films, what was a hit was recycled, so stars were made and genres established* -*The national market was dominated by films in Hindi, which was the principal language* -*After was, Bombay was STILL the center of "all-India" filmmaking* -*India-Pakistan partition cut the market for Bengali-language films by MORE THAN HALF, and companies began making films in Hindi mostly* -*Madras* in South India became a big production center too -*Postwar Hindi Formula: Romantic main plot, comic subplot, happy ending* -*Song and Dance in LITERALLY ALMOST EVERY movie since the coming of sound* -*Idea was: Create a "complete spectacle" that dazzled the largely impoverished and illiterate audiences* -*MUSIC used as drawing factor, music on radio before film is hit before even movie* -

Luchino Visconti

-*Some Neorealist films charted the problems of rural life, including Visconti's "La Terra trema/The Earth Trembles" -*Edited according to the norms of classical Hollywood style, with SMOOTH camera movements, crisp focus, and choreographed staging in several planes* -He acknowledged his homosexuality -*Visconti was an aristocrat who became interested in film when he helped Jean Renoir in filming "A Day in the Country" (1936). -He took up *Left Wing Causes* -His films had sumptuous costumes and settings -*Intense emotion, melodrama (melodrama was between life and theater, was why he loved it)* -Films trace the decline of a family in a time of upheaval -*Pan and ZOOM shoot style, gliding slowly over details, as if history were a vast stage etc*

Motion Picture Export Association of America

-*The Motion Picture Export Association of America (MPEAA) conducted Hollywood's overseas negotiations.* -It *used its power forcefully* -Starting with the European Recovery Act, the US took an interest in helping Europe recover its prosperity. The idea was to help Europe out and in exchange European countries would help the US distribute its movies and such. The *1947 European Recovery Plan/Marshall Plan offered BILLIONS of dollars on aid and it ended in 1952.* -In *France*, the US gov't backed up Hwood export agreements, the *MPEAA argued that Hwood films were EXCELLEND propaganda against communist and fascist tendencies.* -Worked in Germany best -Hwood strategy: make each country's domestic industry strong enough to support the large scale distribution and exhibition of American films. Quick penetration, *by 1953 in most countries US had 1/2 of the screening time in Europe.*

Alain Resnais (Hiroshima, Mon Amour)

-*The Prototypical Left Bank film was "Hiroshima mom amour" (1959), directed by Alain Resnais from a script by Marguerite Duras.* -It *shared the limelight with "Les Cousins" an "The 400 Blows"* -It is *at once highly intellectual and viscerally shocking, juxtaposing the present and past in DISTURBING ways. DIFFERENT than Chabrol or Truffaut.* -*Woman in Hiroshima falls for Japanese man, woman has flashbacks to German soldier she loved during the occupation--film ends with lovers reconciling, suggesting the difficulty of fully knowing any historical truth resembling that of understanding another human being* -*Duras builds her script as a DUET, with MALE and FEMALE voices INTERTWINING over images* -*Hard to tell if sound track has real conversations, commentary, imaginary dialogues, etc. Unclear* -*Film leaps from story scenes to documentary footage of Hiroshima to shots of the actress's youth in France* -*Temporal switches are SUDDEN and often ambiguous* -*part 2 of the film gets rid of the flashbacks, and the voiceover COMMENTS as an inner voice of the main woman, commenting on what is happening in the present* -*Was shown OUT OF COMPETITION at Cannes in 1959 and was awarded an International Critics' Prize*

Import Quotas

-*The U.S. Was encroaching on European markets, and one strategy to resist this was to set quotas on American movies or on screen time allotted to the domestic product.* -1948 France limits American imports, requires that at least TWENTY WEEKS per year be DEVOTED to French films -1948 Britain too passes the *New Films Act, requiring at least 45 percent of screen time to be reserved for British films -*1949 Italy's "Andreotti Law" Passes, requiring 80 days a year be set aside for Italian films* and numerical quotas on imports followed

Vittorio De Sica

-*Vittorio De Sica was an Italian Neorealist filmmaker who made "The Bicycle Thieves/Thief/Ladri di biciclette"* -The film *counterpoints the disintegration of trust between Ricci (dad) and Bruno (son).* -*Cesare Zavattini wrote the script to Bicycle Thief, and he expressed his desire to make a film that simply followed a man through ninety minutes of his life, and this movie kind of does that but not fully* -De Sica and Zavattini made "Umberto D.", a "Rosy Neorealist" film, which means it melded working-class characters with 1930s style populist comedy

The French New Wave

-*late 1950s in France the idealism and political movements of the postwar years gave way to a more apolitical culture of consumption and leisure--the rising generation was dubbed "Nouvelle Vague, the "New Wave"* -*Many new-wavers had read film journals and attended screenings at ciné-clubs and art cinemas. They were READY for more offbeat films than the Cinema of Quality.* -*1953--The Centre National du Cinéma established the "prime de la qualité (subsidy for quality) that allowed new directors to make short films* -A *1959 law created the "avance sur recettes" system (advance on receipts system) which financed first features based on their SCRIPT* -*New Wave is largely responsible for the romantic image of a young director fighting to make PERSONAL films that DEFY the conventional industry* -Most quickly actually became mainstream -*shot on location, using portable equipment, little-known actors, and small crews, made QUICK for 1/2 cost. Shot SILENT and post-dubbed* -*4 initial New Wave films made an impact, released 1959-60: Claude Chabrol's "Le Beau Serge" and "Les Cousins", Francois Truffaut's "400 Blows", and Godard's "Breathless"* -*Most were born around 1930 and were based around Paris. They had a RAPPORT with their youthful audience. They concentrated on URBAN PROFESSIONAL LIFE with its CHIC FASHIONS, SPORTS CARS, ALL NIGHT PARTIES, etc. New Wave suggested that the "café" scene was being captured with the immediacy of Direct Cinema.* -*Authority is to be DISTRUSTED, political and romantic commitment is suspect* -*Plots around chance events and digressive episodes, open-ended narratives*

Jean Pierre Melville

-After the 1953 aid law was passed, it encouraged the production of artistic short films--young filmmakers got their start, including *Jean-Pierre Mellville* -*Mellville was eccentric, and he was a LOVER of American culture--he changed his name in honor of Herman Melville* -*1946, Mellville becomes a PRODUCER in order to direct* -*Independent, eventually owned own studio* -His *first film, "Le silence de la mer ("The Silence of the Sea", 1949) was very experimental, it was about a German Officer during German Occupation in France who boards with a girl and her father and they do NOT talk to him ever* -*"Les Enfants terribles" ("The Terrible Children", 1950)* was an *adaptation of Cocteau's novel*, and it had *voice over commentary*, slipping in and out of lines and almost becoming dialogue, *characters look at the camera*, almost with a self-conscious *theatrical quality* -*Exemplifies rethinking the relation between film and art* -*Melville gained fame for dry, laconic gangster fims like "Bob le flambeur" (1955)--expressionless men in trenchcoats and snap-brim hats stalk through gray streets and meet at piano bars etc.* -*Long silences, hand-held camerawork, long takes, available-light shooting* -*Mellville liked experimenting with narration* -*A movie lover, Mellville brought the energy of Hollywood B Pictures to France* -

The Tradition of Quality

-Postwar European film: Neorealism in Italy, *France was recognized for its "Tradition of Quality"--a return of several important prewar directors, emerging modernist experimenters* -*also known as :Cinema of Quality* -it *aimed to be a prestige cinema that relied heavily on ADAPTATIONS of literary classics* -*Scriptwriter was considered a creative equal or superior to the director* -Performers from top-rank stars OR from *leading theaters* -*Steeped in romanticism, reminiscent of Poetic Realism* -*Lovers in unfeeling social environments, ends tragically, women are idealized, mysterious and unobtainable* -

Papas Kino

-Postwar, 1949, western zones become West Germany, Russian zone becomes East Germany. -Ufi was dismantled and became MANY smaller production and distribution companies -Former nazi filmmakers were allowed to KEEP WORKING. Films like "The Thousand Eyes of Dr. Mabuse" (1960, Fritz Lang) suggests a hotel was used by Nazis to spy on people, and such. Suggest fascist era survives into the present -*The YOUNG directors saw the continuity with the FASCIST decade and the dull complacent film culture as old and crappy, and the young directors of the 1960s called for an end to "Papas Kino/Papa's Cinema".*

Playback Singers

236, 375 -*Playback Singers* were *Professional performers who recorded the songs, which would be lip-synched by the actors during shooting* -1930s and 40s actors sang their own pars, but *AFTER WW2 playback singers* began being used -*Playback Singers were often as famous as the stars* who lip-syched their songs--*Mukesh for Raj Kapoor, and Lata Mangeshar was a SUPER famous female Playback Singer who sang for AGES* -Indian film scores early on borrowed Western symphonic motifs, but *the Hindi formula made a "hybrid score* *combining song and dances from any musical tradition, Greek or Caribbean etc.*

Cesare Zavattini

257, 331-33 -*Cesare Zavattini was the scriptwriter of "Bicycle Thief* -He was a *tireless advocate of a distinctly Neorealist aesthetic* -He *sought a cinema that presented the drama hidden in everyday events, like buying shoes or looking for an apartment* -He believed films should present events in all their repetitive ordinariness. -American producer told Zavatini an Hwood film would show a plane pass then a gun shot then the plane falling, a Neorealist film would show a plane passing once, then again, then again, and Zavattini replied *"It is not enough to have the plane pass by three times; it must pass by twenty times."* -*Zavattini's formulation allowed filmmakers and film theorists to imagine a "dedramatized" cinema, a kind that would be approached in the 1960s*

Josef Goebbels

271, 272, 74, 79, 316 -*Dr. Josef Goebbels* was Adolf Hitler's *minister of propaganda* who *controlled the arts during the Nazi era* -Germany *emerged from WW1 with a relatively LIBERAL gov't*, BUT *during the 1920s the political climate more RIGHT* -In *1933 the fascistic Nationalsozialistische Deutsche Arbeiterpartei ("National Socialist German Workers' Party/Nazis)* Gained *PARLIAMENTARY control*, Adolf Hitler became *CHANCELLOR*, Nazis became ONLY legal political party and Hitler ruled as dictator. -*Extreme nationalism--belief that Germany was naturally superior to rest of world. Blamed defeat in WW1 on Jews etc* -*Hitler was a movie fan, friendship with actors and filmmakers, and often screened films after dinner as entertainment* -*GOEBBELS* watched films every day, and socialized with filmmakers. -*in 1934 he gained control of censorship and until the end of the war he PERSONALLY examined every feature film, short, and newsreel that was released.* -He *admired Eisenstein's "Battleship Potemkin" for its powerful propaganda and hoped to create an equally vivid cinema expressing Nazi ideals* -Goebbels *moved to control other aspects of the film industry* -*April 1933* the *Nazi party tries to remove all Jews from the film industry--forbidden to work for any film establishment, even in foreign companies' distribution offices* --Leading to *exodus of filmmaking talent*, many Jews flee including *Max Ophüls*, *Billy Wilder*, and *Robert Siodmak* -*Goebbels wanted Fritz Lang to have high position in film industry, but LANG WENT INTO EXILE in France then in the United States* -*April 1935, Nazis ban pre-1933 films that had Jews involved in production* -*September "Nuremberg laws" strip Jews of citizenship and forbade marriages between Jews and non-Jews* -*Goebbels ordered the production of Semitic films* *Goebbels' main effort to control German cinema was through the GRADUAL nationalization of the film industry* -*At start of Nazi control*, most of the shares in the biggest company, *Ufa*, belonged to powerful right-wing media mogul *Alfred Hugenberg*--briefly minister of economics in the new regime -Ufa officials opposed Nazis, but they made some of the earliest fascist films. -*June 1933, the gov't set up the "Filmkreditbank"*, the *Film Credit Bank*, which *supported production in wake of Depression*, and it *allowed Nazis to oversee filmmaking (Projects had to meet ideological requirements to receive loans* -*Goebbels did not want to ALIENATE other countries, so he did not try nationalization immediately* -Germany needed imports from US and France to satify its theater's needs, and mid 1930s nations stopped dealing with Nazis and production costs ballooned, exports fall sharply -*1937 and 38, Nazi regime secretly buy controlling interest in 3 main film co.s Ufa, Tobis and Bavaria*, and 2 important *smaller firms Terra and Froelich* -*1942--Ufa-Film or UFI is a giant holding firm that assembled al German film companies.*, *Ufi was vertically integrated*--Hitler seized Czechoslovakia and Austria and Ufi absorbed their film industries _*Goebbal had to give approval for films to ensure they DID NOT attack Nazi ideology, but a LOT were for entertainment* -Films were made *attacking the "Enemies" of the Third Reich*, and *Hitler ordered Goebbels to make five anti-Semitic features in 1939*, shortly after in 1939 Hitler FIRST publicly discussed TOTAL ANNIHILATION as the "final solution" to the jewish problem. *These included "Jud Suss" (1940, Veit Harlan), a Historical epic in 18th century about a stereotyped Jewish moneylender trying to do horrible things to make it a Jewish state, and "Der ewige Jude", the Eternal Jew in 1940 by Fritz Hippler was a documentary that was also anti-semitic and proved unpopular* -*Goebbels in 1943 became obsessed with making "Kolberg" by Veit Harlan, completed 1945, a German Gone with the Wind, and drew nearly 200,000 troops away from the fighting as extras* and hoped it would make people rise up -*Goebbels saw cinema as valuable as pure entertainment*

Veit Harlan

274, 75, 76, 355 -Veit Harlan *directed "Jud Süss" ("Jew Süss", 1940), the Jewish Süss loans money to an impoverished duke, turns the duchy into a Jewish state, rape the heroine, torture her lover etc.* -He also *directed "Kolberg" (1945),* the "German Gone with the Wind", which was supposed to *foster the notion* that the Nazis promoted in a fanatical belief in "blood and soil" and *glorifying death in combat for the fatherland*. It dramatizes an incident int he Napoleonic Wars, as citizens of a small Prussian town take up arms to defend themselves when local military wants to surrender. Resisting the French. -*Directed "Der Herrscher" ("The Ruler", 1937)*, it was one of the films where the *political content underlay the drama*. It shows a powerful industrialist who decides to marry his young secretary, and his family ties to have him declared insane etc. He leaves his factory to the German people, disinherits his kids, and wins out in the end, *promoting the idea that Hitler wanted the people to follow him UNQUESTIONINGLY* -Veit Harlan was prolific and he *directed a number of non-propaganda films*, such as *"Jugend" (Youth, 1938)* which was made shortly after Tobis was taken over by the gov't, it involves an illegit young woman who has been taken in by her conservative uncle, who's a pastor, and she is seduced and abandoned by her cynical cousin, then she drowns herself. Like a contemporary Hollywood film in its style and strict morality. -*Veit Harlan was the only filmmaker who was CHARGED and TRIED after the war.* There was evidence that "Jud Süss* had been used to incite SS troops to arrest Jews and was shown to audiences to weaken opposition to sending Jews to concentration camps. Harlan claimed claimed that he and the other filmmakers involved had been forced to make the film and did not intend it for propaganda, and there was not enough evidence to convict him .

Why We Fight

313, 93, -*WW2 Changed the status of documentary filmmaking. Military in countries called on professional filmmakers and major directors who made FICTION films to start making DOCUMENTARIES* -*Families with members in war could see updates on war events in theaters in newreels and documentaries* -*The United States started calling on Hollywood to make anti-fascism films after the Japanese launched the unprovoked attack on Pearl Harbor base on December 7, 1941.* -*Frank Capra, the Columbia director, was contacted by the Pentagon itself to make a series of propaganda films* -*Capra created a series called "Why We Fight" after he watched "Triumph of the Will" and decided the best way to motivate soldiers to fight was to use the imagery in existing films showing how powerful the enemy was* ---PROPAGANDA films to explain to soldiers why they were OBLIGED to fight in thus war against Germany, Italy, Japan and other members of the Axis. -*Capra supervised directors, and they were given footage from German and other enemy sources, combined with animated maps from Disney that explained the military strategies* -*"Why We Fight was 7 films: "Prelude to War" (1942), "The Nazis Strike" (1942), "Divide and Conquer" (1943), "The Battle of Britain" (1943), "The Battle of Russia" (1943), "The Battle of China" (1944), and "The War Comes to America" (1945).* -*"Why We Fight" was REQUIRED viewing for military recruits and was shown publicly too* -John Ford was also shooting in the Navy in their Field Photographic Branch, and recorded using 16mm cameras, recording the turning point of the war in the Japanese attack on Midway Island, showing the flag being hoisted up

Jean Cocteau

329, 349 -*An avant-garde director who kept alive classical traditions like the post-Kane tendency toward deep-space staging and deep-focus shooting* -Jean Renoir saw art as an entryway to nature--*Jean Cocteau treated it as a path to myth and to the supernatural.* -He considered himself *above all a poet* -He wrote novels, plays, essays, drawings, stage designs and films -Centrally involved in the most important avant-garde developments in France after WW1: Sergei Diaghilev's ballets, Pablo Picasso's paintings, etc. -*After the war, Cocteau returned to filmmaking and worked frequently with composer Georges Auric and actor Jean Marais* -*to convey imaginative truths through evocative symbols* -*"Orphée" (1950) is his most influential work--updated myth, in contemporary Paris, Cocteau creates a fantasy world through striking cinematic means--dead return to life in reverse motion, Mirrors act as passageways between life and death, liquid mirror curtain is surpassed etc* -*Cocteau conceived rich images that could be translated into many media, confirming his belief that a poet creates magic through imaginative means.*

Michelangelo Antonioni

331, 337, 409, 413 -*Michelangelo Antonioni was a major director after Neorealism, and he noted the importance of moving PAST the bicycle to examine how the character is coping now, how his experiences changed him as a person, how POSTWAR life is etc* -*Often built his plots around chance events and digressive episodes*

Roberto Rossellini (Rome: Open City)

331-4, *336*, 337, 338-9, -*Roberto Rossellini was an Italian Neorealist filmmaker* -*His "Open City" derived plot events of the winter of 1943-4, troops caught up in fight against German troops in Rome, showing the Resistance as uniting communists and catholics with the populace--Popular Front perspective on recent history* -Rosselini's "Paisan" is about the differences of language and culture and about historical events -*Neorealism embraces the ordinary world in all of its varying moods: in Rosselini's "Paisan", there are mildly comic scenes alternating with violent scenes*

Federico Fellini

339, 341, 406 -Post Neorealism, in the 1950s filmmakers focused on individual problems, probing middle and upper class life for psychological effects of contemporary life -*Alternately, filmmakers might treat middle and lower classes in a POETIC way, like Federico Fellini did in a series of films beginning with "Variety Lights" (1950, codirected with Alberto Lattuada).* -*Neorealist subject matter is given a lyrical, almost MYSTICAL treatment* -Fellini *claimed that he remained true to Neorealism's spirit of "sincerity", although he deviated from other Neorealist filmmakers* -Helped turn to a cunema of imagination and ambiguity

Welcome, Mr. Marshall

340 -*In Spain, in the 1950s, filmmakers began treating social problems, using location shooting, and using nonactors, much like in Neorealism.* -*The 2 best known Spanish directors to emerge in the 1950s were Luis Garcia Berlanga and Juan Antonio Bardem--the were known as "B & B" and they collaborated on several projects, including "Welcome Mr. Marshall" (1951)* -It was *scripted by Bardem and directed by Berlanga* -It is a comic fable, like De Sica's "Miracle in Milan" -*"Marshall" is about a small town that transforms itself into a picturesque stereotype to benefit from the Marshall Plan* -*It was ENORMOUSLY popular in Spain, satirizing America's expanding power, taking jabs at Hollywood movies and Spanish folk genres, and made a QUIET APPEAL for POPULAR UNITY* -*"Welcome, Mr. Marshall" was selected as Spain's official entry to the Cannes festival and won special mention* -*The production company UNINCI was founded 1951 and was responsible for "Welcome, Mr. Marshall" -Fellini also made "8 1/2" as a New Wave film in 1963

*Cahiers du Cinema*

343, 348, 81-2, 407/9 -*"Cahiers du Cinema" was a film journal founded in 1951* -It raised the *question of cinema as an art* -Different views, *some thought film was closer to theater, some thought it was closer to literature* -Critics propose fresh ways to think about film style and technique

Andre Bazin

343, 48, , 410 *A french film theorist, his major essay, "The French Renoir", argued that he had made unique contributions to France's cinema. * -*Bazin responded to the revelation of wartime Hollywood films by CLOSELY examining the aesthetic potential of deep focus and long takes* -He made theoretical works, and contributed to the "cinéphilie atmosphere, and to *FILM JOURNALS*

Neocolonialism

359 -*Mid 1950s*, *world* was producing around *2800 films* per year--*35% from "First World" (US and Western Europe)* and *5% in "Second World" (USSR and Eastern European countries in its control)* and 60% were from OUTSIDE the Western world and the Soviet Bloc. *These 60% were from "Third World"--20% Japan, the rest from India, Hong Kong, Mexico etc.* -In the 1940s and 50s, countries like Indonesia, the Philippines, India, Egypt and such gained their independence -There was *Fear that these new nations would side with USSR, like when the 1949 Chinese Revolution allied with Moscow, showing communism could take power in an underdeveloped nation* -*Most decolonized nations* joined with the *Western powers*; local *leaders had been trained in the West* and there were *already trade and investment conditions established* -*"Neocolonialism"--these countries were POLITICALLY SOVEREIGN but ECONOMICALLY DEPENDENT on the Western Powers*--*US firms set up powerful regional distribution companies in Third World, and MPEAA negotiated FAVORABLE QUOTAS, HWOOD films make up 50-90% of screen time in most countries, benefitting both US and these countries* -There were many different developments, cities grew fast and there was a HUGE market for films in these third world countries where TV was not established yet -Hwood pics were cheap -More moviegoers than in US -Vertical monopoly system, salary for directors and writers was regular, whether or not they were currently working on a film

Raj Kapoor

374-76 -*Indian Filmmaker* -*Raj Kapoor's Third Feature, "Awaara" ("The Vagabond", 1951) was a HUGE SUCCESS from the Middle East to the USSR* -*master showman of the hindi film* -*Raj Kapoor directed AND starred in most of his studio's output* -Kapoor was prominent member of a star dynasty, including his brothers and sons -created *new formulas* for the Hindi film---scripts written by K.A. Abbas *praise the virtuous poor and satirize the undeserving rich* -*MELODRAMA, Chaplinesque idealistic common man role* -*Kapoor saw himself as entertaining the poor and the underdogs* -*Master of classical narrative style* *Chiarascuro lighting, low-angle deep focus in earlier works* -then *1950s glossy, high-key look* -*Complicated flashback structure* -*Eroticism is conveyed mostly in song and dance sequences, it was highly censored in the narratives of films but he got away with a lot in the name of song and dance fantasy abstraction and such*

Guru Dutt

376-7 -Hindi Indian Filmmaker who *struggled self-consciously against the conventions of Hindi-cinema* -*Leaves Calcutta's Prabhat to work in Bombay* -*Directed Urban Romantic drama and comedy, FORMED his own production company, and acted* -*"Thirst" (1957), breakout romantic drama* -*"Paper Flowers" (1959) first Indian film in anamorphic-widescreen--melancholy, commercial failure* -*"Master, Mistress, and Servant" (1962) was ALSO unpopular* -*Died from overdose of sleeping pills* -Dutt's dramas are dominated by *BROODING romantic fatalism*--Paper Flowers filmmaker protag fails marriage and fails affair and becomes a drunk -*Sorrowful depiction of losing- battle of individual vs. social forces* -*Somber song numbers, long tracking shots pick up the rhythm of the music, cynical lyrics* --*He pushes the Hindi film away from musical comedy toward the pathos of Western-style opera, NOT SUITED FOR THE HINDI FORMULA*

Satyajit Ray

377 -*More of an art film filmmaker* -*Satyajit Ray was a Bengali director, and he was unconventional* -*Post WW2, he was for decades the only widely known Indian filmmaker in Europe and US film culture* -First film was *"Pather Panchali" ('Song of the Little Road", 1955)* and it *won a prize at Cannes Film Festival*, and it's *sequel: "Aparajito" (The Undefeated, 1956)* won *Grand Prize at Venice* -*His films are more akin to the European art film than to commercial Indian cinema--more popular abroad* -

Francois Truffaut

404, 6 7 8, 10-11 -*Francois Truffaut's spiritual father was Jean Renoir* -His *lilting camera movements around his characters suggested that their lives were a lyrical dance* -*Truffaut grew up as a WARD of the critic André Bazin* -*short film "Les Mistons (The Brats, 1958) leads to Truffaut financing "The 400 Blows", "Shoot the Piano Player", "Jules and Jim"* -*Truffaut's tendencies: autobiographical strain, offhand and affectionately parodic treatment of crime plot, and somber but lyrical handling of unhappy love affair* -*Early films have zoom shots, choppy editing, casual compositions, and bursts of quirky humor or sudden violence--sometimes they capture the characters' vitality, increasingly SUBDUED ROMANTICISM* -*Truffaut was true to the Cahiers's legacy by inserting into each film references to his favorite film periods and his admired directors Lubitsch, Hitchcock and Renoir.* -*"Jules and Jim" was set in early times of cinema and employed silent style* -*Truffaut sought to RENEW traditional cinema, not to destroy it.* -He aimed to *balance a personal expression with a concern for his audience*

Jean-Luc Godard

406, 410-11, 404-5, 407, 8, 406, -*Late 1950s and 60s, manufacturers perfect cameras that do not need tripods--could shoot with audio on location and were easily portable* -*Young filmmakers tapped into the power of fragmentary, discontinuous editing* -In *"Breathless" (1960), Jean-Luc Godard violated basic rules of continuity editing, tossing out frames in the middle of shots to create JUMP CUTS, which create a skittery and nervous style* -*FIlm became reflexive, pointing to its own materials, structures and history--the mouth rub in Breathless, the obsession with self image etc* -Godard was a *stormy and demanding* critic. He was a *New Wave filmmaker*, and he *redefined film structure and style* -*His work poses FUNDAMENTAL questions about narrative* -*Moved towards a more fragmentary, COLLAGE structure* -*Juxtaposed staged scenes with documentary footage, and he mixes pop culture conventions such as detective novels or Hollywood movies with references to philosophy or avant-garde art*

The auteur policy

407 -The principal Nouvelle Vague/French New Wave directors had been film critics for the magazine "Cahiers du cinéma", and they were strong adherents of the "Auteur Policy"; they *believed that the director should express a personal vision of the world, and this vision would appear in BOTH the script and the film's STYLE*

Italian Neorealism

566, 600, 297, 330-40, 393, 400, -*The most important filmmaking trend in the post WW2 era between 1945 and 1951 appeared in ITALY in the form of Italian Neorealism* -Neorealism was NOT an original and unified movement like historians once thought, but *it created a distinct approach to fictional filmmaking* -Influenced other countries' filmmaking -Mussolini's government falls, Italy's film industry is chaotic, Allied military in Italy tried to secure U.S. Domination of the market -Neorealism began as an *IMPULSE in literature and film* during the WANING years of fascism, and it was a *force for cultural renewal and social change* -Films following the tired worker returning home -Spring 1945 Italy is liberated -*Parties form a coalition government to reshape Italy with left-liberal ideas, and filmmakers were ready for what was called the *"Italian Spring"* -*Neorealist* films contrasted films that preceded them. Italy's government "Cinecittà" studios were damaged in WW2, bringing an end to Italy's famous MAGNIFICENT STUDIO SETTINGS. SO *Filmmakers moved into the streets and countryside. Shot on location, postdubbed later, often with different actors like Ricci in "Bicycle Thieves"* -They *offered a critical examination of recent history--a "popular front" perspective.* -*Italian Spring ends 1948* -*Italian Audiences did not like most Neorealist films, because they did not want to see bleak reality* -*Government did not like the way that Neorealist films showed Italy as being shattered, broken, NOT prosperous* -*there are several CRITICAL positions on Neorealism.* -*One*: Saw Neorealism as committed to reportage, trying to reform things in the name of the political unity briefly achieved during the Resistance and Italian Spring. -*Another*: suggested Neorealism's importance was in its ability to make characters' personal problems gain universal significance. -*A Third*: Saw Neorealism as showing the beauty of ordinary life -*Neorealist style: shot on location, using non-actors and extras, with ROUGH, offhand compositions, open endings, ellipses, extreme mixtures of tone, focusing on microactions* --*Interiors often shot actually in artificially lit studio sets, and postdubbing allowed for more control over the filmmaking* -*Nonactors were MIXED with stars* -*Plot: Relief on COINCIDENCE, as when Ricci and Bruno run into the thief outside the psychic's house*--Rejects carefully motivated chain of events of classical cinema -*Use of ELLIPSIS--skipping over important causes for the events we see* -*unresolved endings* -*String of events seems random -Rosselini's "Germany: Year Zero"--Boy, Edmund, wandering postwar defeated Germany, random events, soccer game with boys, wandering, leading to his SUICIDE jump* -*Because the plot has events that are not necessarily causally connected, the viewer cannot tell as well WHICH details are important, so the viewer watches everything as if it is equally important* -*Rosselini's "War Trilogy" of Open City, Paisan and Germany: Year Zero sought to REVIVIFY HUMANISM in what he perceived as a decaying society* -*His films became didactic, showing how the practical world mistakes sensitive individuals for simpletons, lunatics etc.* -*Concentrates on the extraordinary person who can rediscover time-honored values in postwar world* -*Films starring Ingrid Bergman present a woman's gradual discovery of moral awareness* -*"Voyage to Italy" and such, showed a woman having a sort of sexual awakening, traveling, realizing her bland marriage to husband is ok to accept* -*It was an influential model of social realism and psychological ambiguity*

John Grierson

585-86, 311, 12, 13, 10, 21, 480, 78, 140, 314 -*GPO Film Unit--Grierson trains many future documentarists who become important.* American government had a short-lived sponsorship of documentaries during WW2, and *the United Kingdom built up a major national filmmaking body during the early 1930s* -It produced many classic documentaries over the years, *this was a time when realist films got more attention than entertainment films* -*Scottish-born John Grierson's efforts helped the burgeoning mode of documentary filmmaking.* -8Grierson was Educated in the US in the 1920s, and was impressed by how powerfully American cinema and ads shaped mass audiences' responses. He DEPLORED the way Hwood cinema missed its chance to combine entertainment with education. -He *admired soviet cinema for its artistic innovations but ALSO because the gov't had sponsored films which were designed to affect viewers intellectually.* -He had helped develop the version of "Potemking" that was released in the US. -He admired *Robert Flaherty's tactic of of locating corporate funding outside the commercial-film industry for "Nanook of the North", which was sponsored by a fur company. -*Grierson returned to Britain in 1927* and he gained the support of Sir Stephen Tallents, head of he Empire Marketing Board, to help him promote British products around the world. he made "Drifters" to promote the herring industry, and used Montage style fast cutting between fishing boat parts etc. -*1930 the Empire Marketing Group hired John Grierson to form a permanent film unit*, where he recruited and *trained filmmakers* who were young and liberal. -*1933 EMB dissolves, Grierson joins Tallents in moving to the General Post Office (GPO) -*GPO Film Unit--Grierson trains many future documentarists who become important.*

Wartime Documentaries: *"Triumph of the Will" (1934, NSDAP Reichsleitung)* *Director: Leni Riefenstahl*, *"Listen to Britain" (1942, Crown Film Unit)* *Director: Humphrey Jennings* , *"Why We Fight: The Battle of Britain" (1943, Why We Fight #4)* *Produced by Frank Capra*, *"The Battle of St Pietro" (1945, U.S. Army Pictorial Services)* *Director: John Huston*

Documentary film goes BEYOND narrative film. World War 2 documentary takes a view at the CULTURAL importance. -Fiction and documentary as a a SPECTRUM -In *Narrative Fiction*: 1. Sights and sounds create a self-contained imaginary world, and 2. Referential elements are SUBORDINATED to a fictional system. *In fiction, referential real world serves fictional world* -in *Documentary*, it is *not defined by specific techniques. it can be MANIPULATIVE storytelling, NOT JUST TRUTH. And it draws on the SAME TECHNIQUES for filmmaking as a narrative. -Sights and sounds refer to the real world -*In a documentary film, fictional elements are subordinated to a referential system* -*Triumph of the Will* -*Josef Goebbels is Minister of Propaganda for Hitler* --*Released in 1934 as Nazi Propaganda* -It is *very persuasive propaganda* -*1933 Jews Removed from Film biz* -1930s SLOW consolidation of the film industry -1942 *nationalized film industry under UFI (UFA-film) -*"Triumph of the Will" was propaganda to *further the Nazi cause*, it was *given a narrative structure and FEATURE LENGTH* -*Leni Riefenstahl is a TALENTED German director and writer, given money by Hitler to make this* *Goals: 1. Crystalize the Nazi spirit 2. Create an image of POWER 3. Strike fear in enemies* -It was the *first staged media event that was DESIGNED to look good on film* -*Buildings were constructed for good shots* -Influential, Riefenstahl uses *stylistic techniques--editing, staging, shot composition--to promote Hitler and the Nazi's rise to power* -*"Triumph" starts with Hitler in the CLOUDS, descending slowly to Earth like a god* --*Hitler is connected to deity* *1.* Overwhelming sense of *mass scale of organization* -It is *NOT promoting an intellectual argument, instead it is trying to USE SCALE to persuade you--a "Bandwagon Approach"* -Emotional appeal -Emphasis on SCALE -*Hitler is given appeal VIA THE MASSES* -The shot of Hitler walking down the aisle is recreated by George Lucas at the end of Star Wars. -Things are *staged FOR the audience* -There are shots *behind hitler, from the front, and each time you DO NOT see a camera behind him.*--it was *probably shot twice*--Hitler went back down the street, *trying to hide the camera's presence=STAGED* *2.* A political event *staged for camera* *3.* Establishes *iconography of Nazism* --swastikas, marching, uniforms and shiny belts, etc. --*A documentary MADE these images of the Nazis* The *Why We Fight* series -*John Grierson* headed the company, and he *believed that people should be EDUCATED*--He was more *experimental* than other documentarists -*Humphrey Jennings, the director* worked alongside Grierson, he wanted to *treat topics as things you can creatively work on--to show the strength of Britain* -*"Listen to Britain" attempts to present to everyday people the lives of British People--why SACRIFICE is worth it. It is less forceful than triumph* -The documentary moves *all over the country to suggest a UNIFIED Britain*--there is the *dance hall, south Britain, travelogue up, South to North* -*Concert with Mozart pianist--all of us are bound TOGETHER in our experience, people on the steps of the National Gallery to listen to Hess concert, image of Queen of England at concert--no paintings because of the bombings (they are protected elsewhere)* -*Production Plant--all is connected, all PART OF BRITAIN* -It *Unifies citizenry across Social and geographical lines, buries rhetoric within everyday actions, and gives the APPEARANCE of a gentle presentation of fact* *American War Documentaries* -Training films--Workers in industry, how to films (how to use guns, for instance), *dry films about how to be an effective soldier*, they were *well made by Hollywood experts* -Orientation Films -Victory Films *Government sought Hollywood talent to help, they worked TOGETHER to make good films* -*Why We Fight* were *orientation films from 1942-44/5, and they *EXPLAIN the reasons to fight and sacrifice* -*emotional approach to get people on board with war effort* -*7 films at request of US government, Produced by director Frank Capra--famous at time for "It Happened One Night" etc.* *"The Battle of Britain" (1943) was the FOURTH (4th) "Why We Fight" film* --complex politics --*Make Britain strategically important to Americans, make them feel like they have a stake in the war, to fight for the Brits* -*Raise emotional investment* -Acts as a *call to action* -*Uses fiction filmmaking techniques to tell story* -*Capra is the CREATIVE MIND--it is HIS vision--Hollywood talent being used for propaganda* -there are *3 narrators* voiced by *Hollywood actors and writers* -*Score by a great composer* -*Animation of maps provided by the Walt Disney Co.* -*4 Goals:* *1.* Show the *complex political situation in Britain* *2.* Need to *frame the battle in a way that seems relevant to Americans* *3.* *Strategically ratchet up the emotions* *4.* Act as a *call to action--Potempkin's goal too* -The *Disney maps indicate United States is in PERIL, Nazis are on the RIGHT, Japan is on the LEFT, the US is CENTER and in DANGER* -*Nazis are demonized as a shadowy villain--evil* -*Britain is shown as the ONLY thing standing between the US and Germany--Britain is described as a BARRIER, it gives IMPORTANCE to the battle* -Germany is depicted as a *whale* threatening to *swallow Britain*--*Giant vs. Underdog=Emotional Appeal* -*Approaches taken to address goals:* --It is *structured like rounds of a fight and responses*, like a sparring match--a COMPETITION, the *competitors are laid out: Brits vs. Nazis* --*Nazis are regimented and inhuman, Capra SAW "Triumph of the Will" and he USES Nazi iconography to show Nazis as a machine, LACK of individuality* --Bombings--Capra decides to *STAGE a narrative, a FICTION like in Hollywood films*--*continuity editing* is used, *actor is on the ground and he looks up, then there is an EYELINE MATCH to footage of a plane*, cut back and the actor covers his head, indicates there's a BOMB nearby--the STAGED convo between the 2 brits "You okay" etc, to show *INDIVIDUALS* -*Capra took footage of individuals from DIFFERENT FILMS, like the shot of the woman looking off and the cut to rubble, to make connections that were not really there* -There were *staged vignettes--via continuity editing, to tell a narrative based on civilians who we can identify with MORE than the machinelike Nazis* The level of *individualization* is achieved through *continuity editing, staged vignettes and narrators* -*3 Narrators:* *1.* Facts and Numbers, confident *2.* Lives and people, folksy (Huston) *3.* Woman, female voice--rare at the time *Whale--Jonah and the Whale (Bible), Jonah prevails--Brits will win* -Nazis vs. brits-- *Rounds*: * 1.* Air raid, score card tallying number of each side's planes that were lost, and the number of PILOTS saves, IFFY on accuracy though etc *Frame the battle in terms of VICTORY--by saying the goal was to NOT LET Germans set foot on British soil, victory was achieved because INDIVIDUALS sacrificed themselves--through sacrifice, Britain will prevail* -*Ending: Song, There'll Always be an England, shot of liberty bell, with a V for Victory, call to FIGHT --Direct exhortation *Structured like rounds, staged vignettes, continuity editing, multiple narrators, direct exhortation* *The Battle of St. Pietro* --*Directed by John Huston* -Huston made "Maltese Falcon" in 1941, distinguished in fiction filmmaking, he is *tasked with making a documentary film* --*July 1943, Allies invade Sicily, going TOWARDS ROME--Huston is supposed to document the liberation of Rome--slower progress than initially thought, slow and bloody* --*To explain military difficulty* -This was NOT released until after the war, people did NOT WANT TO SEE THIS *Recently this documentary has been found to be FALSE* --*John Huston arrived LATE to a brutal 9 day battle, most of troops and crew ducking to stay protected, little footage was actually captured.* -There IS real stuff--*Corpses were real, battle lines too, real civilians etc.* -*Battle footage is mostly reenactments* -*How does a fiction filmmaker frame a real life conflict? Huston REVISED the traditional documentary approach, going against the grain--it starts with a SARCASTIC TONE. Shots of burned out buildings are shown while Huston narrates as if it were a pre-war travelogue* -*tallies, animation, narration* -The narration of *Huston in "Pietro" is MUCH LESS COMMANDING than in "Battle of Britain"* -*The Maps in Pietro are a CONFUSING muddled mess, makes the battle look like a CLUTTER--this contributes to a BROADER idea in the film that WAR IS NOT CLEAN OR CLEAR* -Shot of tire squishing through mud, messy -it is *NOT SANITIZED* -*Editing and Cinematography: "Pietro" used "frontline cameras" --sense of spatial discontinuity, lack of unity* -*San Pietro does NOT tie loss of life to sacrifice, instead it is ABOUT THE SHEER LOSS OF LIFE-SOLDIERS DIE* -*A soldier seen early on is later seen on a stretcher* -*No emphasis on REASONS for dying--Makes you CONFRONT LOSS* -*Huston got in trouble--he shows us dying soldiers, no reason, and then at end describes the living soldiers will die in a later battle* -*Huston was anti-war* -*Rebirth at end with happy civilian children, but this is UNDERCUT when the narration says saving them was INCIDENTAL, good but NOT PLANNED* -*it acknowledges the LIMITS of propaganda and turns traditional conventions against pro-war rhetoric*

The GPO Film Unit

In Great Britain: 312, 14, 585-6 -*1933, Sir Stephen Talents*, head of Empire Marketing Board which was a gov't institution used to promote British products around world, *brings with him John Grierson and others to join the Government Post Office (GPO) to form the GPO Film Unit* --*GPO Film Unit included some future important documentarists* -*British documentary cinema contributed to the united front against the Nazi attack*. Movies like "Desert Victory" (1943, Roy Boulting) was coproduced by the Royal Air Force and the Army--real raw footage and stock footage of maps and such were edited together, and rapid editing heightened fights. Popular, won Oscar in US for best documentary. -*As soon as war began, GPO Film Unit became the Crown Film Unit, and was dedicated to make war-related films.* -*Harry Watt was a documentarist who worked under Grierson. Watt made "Target for Tonight" (1941) which STAGED most of the action, but it was emphasized that "real" men and women did the job. IT was about BOMBING RAIDS, and it GOES BEYOND simple exposition of what happened and DRAWS upon conventions of fictional war films, by using details like a pilot misplacing his helmet to create human interest and make it relatable.*

Leni Riefenstahl

Riefenstahl is now known as the most famous *filmmaker of the Nazi era.* She started as an actress in silent films and directed herself in sound feature "The Blue Light" (1932), and then *she made 2 propaganda features at Hitler's request, "Triumph of the Will" (1935) and "Olympia" (1938)* *"Triumph of the Will" was made on the occasion of the Nazi party congress in Nuremberg in 1934* -*Hitler* wanted the event to *show his control of a powerful and unified group of followers*. - *Riefenstahl* was given an *enormous amount of resources*. She oversaw *16 camera crews* and the *huge buildings that were erected for the event were designed so they looked impressive in the film* She *used skillful cinematography, editing, and music to create an impressive two-hour pageant of Nazi ideology and fervor, showing Germany's military strength to a nervous world* *"Olympia" is a record of the 1936 Olympic games, held in Berlin.* -It was *financed by the government* -Intended to show germany as a cooperative member of the world community, and quell fears about Nazi aggression. Hoped that the games would result in a series of prizes form Aryan participants and show their competitors as racially inferior. -Leni Riefenstahl deployed camera crews to capture footage of events and to film crowd reactions, and wound up editing it for two years, finally to be released as 2 feature length films. Glimpses of Nazi officials and Hitler watching the games, but she concentrated on creating a sense of friendly competition among athletes and on the evnts' beauty and suspense. The medals won by non-aryan athletes like American track star *Jesse Owns* helped undercut the original propaganda purposes of the film -After the war, she fled to her home in Austria and to live a low profile life but she was not allowed to make films again until 1952. Triumph: Hitler waving, standing in the car/truck, at the crowds, cutting between the crowd reactions of screaming Hitler's name, saluting him, shots of children, cutting back to Hitler, etc. And of the big buildings with Nazi swastika banners, the big room with the crowd where Hitler was to speak, etc. With crowd parted left and right looking from the back to the front of the hall, facing the front.

End of Studio System

Studio System DIED -Studios were globally influential, very inspirational and successful -Late 40s--2 events RESHAPE the film industry: *1.* US v PAramoint Pictures inc. et al (Lawsuit) --Paramount, WB, MGM, 20th Century Fox, RKO, Universal, Columbia, UA -Accused of VIOLATING trade laws *1.* No unfair trade practices--*No more block booking--each film MUST be sold own its own merits, ONE price, block booking films were sold on star power and for deals for big movies too *2.* Divorcement--Get rid of theater chains--*end to Vert Integration*--EXHIBITORS HAD TO BE SEPARATE FROM THE ONES MAKING THE FILMS *3.* Divestiture--Get RID of monopolies on theaters, chains had to GET RID OF MAJOR CITIES studio system is DISMANTLED, more competition in exhibition, smaller companies and inde companies get access to the market, Universal goes from B films not able to get a hold on the market to making the "Glenn Miller Story"--BIG film in 1954 -Changes in FILM CONTENT--1934 PCode big change, MPPDA approval seal, award by Major Production Company, can't show in theater UNLESS SEAL--way to KEEP PEOPLE OT, and PREVENT indy from getting big -Once ownership was broken, affiliated theaters are NOT as big a deal so people can get away with not having seal Changes: challengers to the PCOde "The Miracle" film made by Roberto Rossellini in 1948, 52 supreme Court declares that films are covered by the FIRST amendment, free speech -53 UA releases man with the Golden Arm without certification, 1966 PCode Abandoned -1968 Rating System is instituted, at time it was a way to reglate access ti age to stave off censorship *2nd Big Change: "The Great Decline" -1946--98 Million per week 57--47 million per week -1960s decline -Changing lifestyle--people move to the suburbs, postwar--away from theater Woman encouraged to start building families -This is WHEN AMERICA WAS BORN, when it was great! Expansion of CONSUMER CULTURE -Not JUSt money, but things to buy + Mortgage! -OTHER entertainment fills the void, products flooding market, RADIOS become big, so do TVs -Most homes have a TV by end of 1950s -Sports--NFL gets big -Mini Golf GOT BIG and killed Hollywood -Fewer, more expensive films -More a special event, not an everyday occurrence -When making films, not having to pump them out at high volume, *FIRE PEOPLE, focus on a few films after DOWNSIZING* -*Upscaling genres: bigger, better, longer--big stars and budgets* TV gets color, so FILM goes full color -Producers find it easy to distribute indy films -Package-Unit production--producer gets screenplay with some merit and gets a director and cast and makes it then disbands the production unit--need crew, for each film ONLY AS GOOD AS YOUR NEXT FILM, it's a HARD BIZ Let people make movie FIRST then figure out the money situation, do not prefinance a film