Film 106b Final

François Truffaut

(1932-1984) Writer and Critic for Cahiers du Cinema 400 Blows (1959) Semi-autobiographical story of Antoine Doinel (Jean-Pierre Leaud), a young boy growing up in Paris surrounded by neglectful adults Believer in auteur theory Politique des auteurs was a critique of French Cinema's "tradition of quality," which was based upon literary adaptation, dependent upon the screenwriter, and placed emphasis on spectacle and high production value. The idea was that film should be centered around the aeuter, or the director. In the Truffaunt reading, he recognizes that the role of the individual director (auteur) who has a unique vision made apparent by their distinct stylistic signature. The aueter was seen as a "genius" or a director with a particular worldview who could translate their vision into the cinema.

Andrei Tarkovsky

(1932-1986) Trained at Gerasimov Institute of Cinematography (VGIK) - All-Union State Cinema Institute • In early 1950s, still difficult to receive approval for scripts and film production • Becomes a filmmaker during the Soviet "Thaw" period (1954-1966), under Nikita Khrushchev (1894-1971), leader of the Soviet Union. • Khrushchev initiated a de-Stalinization period, which allowed some experimentation in cinema; however, this period is short lived. • General Secretary Leonid Brezhnev (1964-1982) ended period of openness. • Tarkovsky's Andrei Rublev was heavily edited and censored by Soviet authorities; other films were not approved or halted by Soviet authorities. Tarkovsky permanently leaves the Soviet Union in 1982. • Ivan's Childhood (1962) • Andrei Rublev (1966) • Solaris (1972)

André Bazin

1918-1958 French philosopher, film theorist, founder and major writer for Les Cahiers du cinema. However, he differed from a lot of his co-writers in his relation to aueterism As an older member of the publication, Bazin's memory of WWII and the Invasion of Paris taught him to value socially consious and cooperative efforts over the valorizing of the individual Didn't need films to be the direct reflection of a single directors vision Emphasis on the director as a central figure in the filmaking process erases crucial aspects of history, social contexts surrounding the film, economic circumstances fo production, and cooperative elements of film making However, Bazin maintained a great admiration of the accomplishments of individual directors such as Alfred Hitchcock and Orson Wells

Algerian War of Liberation

1954-1962 The Algerian War of Liberation was led by the National Liberation front (FLN). Algeria had been under French colonial rule since 1830. However, after WWII ended in 1945, many former colonial territories including Algeria, began to declare their independence and nationhood status as the imperialism of Western Europe began its decline. Notable films from the course are The Battle of Algiers (1966) and Cleo from 5 to 7 (1962).

Oberhausen Manifest

1962 The Oberhausen Manifesto was put out by German filmmakers during the New German Cinema movement. It suggested that the old cinema would be relinquished; there was a new feature film, with freedoms to be explored by filmmakers. The New German Cinema was a movement "invented by journalists" according to Elsaesser after WWII. The individuals responsible for the Oberhausen manifesto stated that the new German Cinema would be free from commercial agencies and of special interest groups. They conceptualized that there would be intellectual, economic, and formal aspects of the production of German film. It was said to be an attack on the traditional commercial film industry in an attempt to differentiate itself to form a more international cinema.

Hamburg Declaration

1979 The Hamburg Declaration was implemented in 1979 and was designed to reject the Autorenfilm and also put an end to solidarity. It was an advocate for diversity as put forth by its founders. It must not be diverted by commissions, institutions, or special interest groups. The Hamburg Declaration would seem to be a reflection of the creation of the prior Oberhausen Manifesto, which gave birth to the New German Cinema. It was a defiant move against the Bureaucracy put into place. During the New German Cinema movement, some notable filmmakers include Volker Schlöndorff and The Marriage of Maria Braun (1979, Fassbinder).

Milos Forman

A Czech New wave (1963-1967) director (1932-2019) who was influenced by Neorealism and Direct Cinema. The movement focused on a cultural renewal and decentralized film production. His most significant work was The Firman's Ball (1967), which depicted an annual ball of a volunteer fire department. This represents one of the Czech new wave tendencies towards a satiric art-cinema realism as Forman was influenced by Italian Neorealism. The film had non-professional actors and moves through the absurdities of the ball, and the pomp of arrogance shown by the volunteer members. The film does not develop any of the the volunteer members in depth, and instead is driven by several running gags and revelations about human vanities. The film served as a satire of the Czech communist regime, showing its frustrated sexuality, incompetent bureaucracy. and petty pilfering. As a result, the film drew criticism and was eventually banned under the Warshaw Pact.

IDHEC (Institut des Hautes Études Cinématographiques)

A French film school which was founded during World War II by director Marcel L'Herbier. This school offered training for directors and producers, camera operators, sound technicians, editors, art directors, and costume designers. Many prominent filmmakers have received training from this prominent institution including. The name of the institution has since changed to La Femis and is still an operating production company today.

jump cut

A Jump Cut occurs when there is no match between 2 spliced shots. Within a sequence or more particularly a scene, jump cuts give the effect of bad editing. The opposite of a match cut, a jump cut is an abrupt cut between 2 shots that calls attention to itself because it does not match the shots seamlessly. It marks a transition in time and space, but its called a jump cut because it jars the sensibilities. It makes the spectator jump and wonder where the narrative has gone to. Jean-Luc Goddard is undoubtedly one of the best exponents of this use of the jump cut. In his film Breatless (1960), he used Jump Cuts to violate basic rules of continuity editing by tossing out frames from the middle of shots in order to create jarring jump cuts. In turn, this created a skittery, nervous, style. Jump cuts can add a sense of speed to the sequence of events. For this reason, jump cuts, while not seen as inherently bad, are considered a violation of classic continuity editing, which aims to give the appearance of continuous time and space in the story world by de-emphasizing editing. Jump-cuts, in contrast, draw attention the the constructed nature of the film It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead

Metteur-en-scene

A technician-director,someone who understood cinematic grammar and could organize a film Different than the genius auteur

New German Cinema

After WWII, Germany was divided into East and West Germany, which was controlled by the Soviet Union and the Allied Powers respectively. The New German Cinema Period was preceded by "Young German Cinema". Characterisitcs of the New German Cinema were that most of its directors were born during or at the end of WWII, it was supported by state funding, and it was regarded as "national" cinema that sought to attract international audiences. The New German cinema dealt with themes regarding guilt surrounding the Nazi regime, the influence of Hollywood cinema, political upheavels, and differences regarding race, gender, sexuality, age, and class. Prominent directors of the time included Fassbinder, Herzog, and Kluge.

Agnés Varda

Agnés Varda was an important French New Wave filmmakers who directed Faces Places (2017), a documentary about Director Agnes Varda and photographer/muralist J.R. journey through rural France and form an unlikely friendship. The other film we watched from her was Cleo from 5 to 7 (1962). Cleo is about a young woman who awaits the results of a medical test. It is described as being about a woman who discovers "she is a little doll, being manipulated by men, a little girls who makes no decisions... and in that hour and a half she starts to relate differently." The film is also notable for its references to the Algerian war.

Alan Resnais

Alain Resnais was a founder of the Left Bank (Siene River) Group. The group was more politically engaged than the Cahiers group Night and Fog (1955) Hiroshima, Mon Amour (1959) Last Year in Marienbad (1961) A French woman, Her (Emmanuelle Riva), and Japanese man, Him (Eiji Okada), have an affair in postwar Japan • Comments upon the atomic bomb; the memory of world war 2 trauma of the war. Hiroshima, Mon Amour 1959 led many filmmakers to "subjectivize" flashbacks. Scenes of fantasy and dreams proliferated. All this mental imagery became far more fragmentary and disordered than it had been in earlier cinema. The filmmaker might interrupt the narrative with glimpses of another realm that only gradually becomes identifiable as memory dream or fantasy. At the limit,this realm might remain tantalizingly obscure to the very end of the film, suggesting how reality and imagination can fuse in human experience. A bit of a rogue director. He was a feminist. His films, unlike most New Wave films, mixed politics & romantic relationships. was a French film director and screenwriter whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included Night and Fog (1956), an influential documentary about the Nazi concentration camps.

banlieue cinema

Banlieue refers to housing projects in France built by french gov. to accommodate Algerians who could not live in the casbah. The French banlieues have high unemployment and tend to be aggressively policed.The Banlieue cinema is when directors wanted to portray life in these outskirts. The Battle of Algiers pre-dates the banlieue film but almost anticipates the conditions of France post-colonialism. The balieues were isolated from france, housing projects were built on the outskirts of the city, and filmmakers used this sense of isolation to create films. The banlieue film uses a realist aesthetic that presents the "alienating architecture" of the housing estates to show the marginalization the main characters.

Alexandre Astruc

Before becoming a film director he was a journalist, novelist and film critic.[2] His contribution to the auteur theory centers on his notion of the caméra-stylo or "camera-pen" and the idea that directors should wield their cameras like writers use their pens.[3][4]

French impressionism

Bordwell has attempted to define French Impressionism as a unified stylistic paradigm and set of tenets French impressionism destabalized familiar and objective ways of seeing, creating new dynamics of human perception Using strange and imaginative effects, it altered traditional views and aimed to question the norm of the film industry at the time Family Resemblance Model French Impressionism began after WWI by a group of French film directors commited to film as an expressive art form Directors worked in both the commercial industry and within the experiemental avant-garde They believed art creates an experience that leads to emotions for the spectator In order to make these impressions on the spectators, it cannot make direct statements, instead it should create these feeling by evoking or suggesting them. They consider cinema as a pure meidum that should provide access beyond reality. Its key features of camera work are superimpositions, filters, POV shots, and out of focus lense. It ises rapid editing and relies on conventional narrative

Art Cinema

Characteristics of the art cinema: • Acknowledges, but is opposed to the classical narrative mode (causality, motivation) • lacks resolution; ambiguous, "open-ended narratives" • utilizes flashforward, jump cuts, freeze frames, violates continuity Two principles: realism: on-location shooting, social issues, documentary realism, psychological complexity • "violation of classical conceptions of time and space" motivated by protagonist psychological states 2. authorial complexity: the author is a "formal component, the overriding intelligence organizing the film for our comprehension." Has a "stylistic signature" • "radical split of narrative structure from cinematic style," the art cinema maintains "thematic ambivalence" • Cleo from 5 to 7, Ivan's Childhood The history of the art cinema: • begin to produce films that appeal to the middle classes. The U.S. industry creates a classical narrative form that appeals to both working and middle classes. • Art cinemas of the 1920s attempt to counter Hollywood dominance (first quota systems). The introduction of sound film undermines these efforts. • post-WWII increased state support and the creation of national art cinemas • "...censorship and sexuality have figured as crucial elements in the emergence and consolidation of Art Cinema." • cine-club movements developed due to censorship (Soviet Union) • The Hays Code (1934): censored the depiction of sexuality, nudity on screen. • produced for an international market • retain the "mark" of the nation (language)

Claire Denis

Claire Denis (1946-) is a French film director and writer, whose work deals with themes of colonia and pos-colonial West-Africa, as well as issues in modern France. Her childhood spent in colonial French Africa influence her perspectives on political issues regarding colonialism and racism. She is the director of the film Chocolat (1988), a film set in present day and French-colonized Camaroon, which examines the postcolonial condition in France and legacies of the colonial era through the story of a childhood friendship between a French Woman and Cameroonian servant in her household.

Diaspora

Diaspora refers to a dispersion of an ethnic or racial group that migrates from a country and establishes a community. The black identities in the film Handsworth Songs came out of this dispersion.

Rainer Werner Fassbinder

Fassbinder was a significant director during the New German Cinema movement. He was born to a middle-class, intellectual family in a prosperous town in Bavaria and left high school before recieving a diploma. He was later rejected from the Berlin film academy and generally drifted until he was 20. In his early 20s, he created a "core group of actors, editors, and technicians" who worked under him for many films. His system of utilizing a core group allowed Fassbinder to create more than forty films between 1967 and 1982, or about a fifteen year span This impossible feat could be partially explained by maniac, possibly drug induced creativity where life and work were blended into one In addition to writing, producing, and directing films, Fasbinder also made TV drama series and a TV variety show, wrote plays for the theatre and radio plays, acted in other people's films, and contributed to critical essays Also openly gay during the time of legal and social discrimination against homosexuals, and thus sought the company of social marginal like himself and the characters in his films Fassbinder, like other German filmmakers of his time, addressed Germany's reckoning with its Nazi legacy, the postwar division, and Germany's current political turmoil in his films. Similar to the director he considered his mentor, Douglas Sirk, Fassbinder felt he was fighting social oppression 'from within.' Some of his films include Love is Colder than Death (1969), Katzelmacher (1969), The Bitter Tears of Petra von Kant (1972), Ali: Fear Eats the Soul (1974), Berlin Alexanderplatz (1979/1980), and The Marriage of Maria Braun (1979).

Claude Chabrol

Film director prominent in the French New Wave film movement He was a member of a group of once-film-critics turned directors, like Jean-Luc Godard and Francois Truffaut His 1958 film Le Beau Serge is considered to be the first feature length film of the French New Wave It is a low budget film about a man who returns to his hometown to find his childhood friend is an alcoholic Charbol's writing examines the French youth culture (pregnancy, marriage, employement, educational opportunities, break from older generation) with relations between rural and urban enviornments

Black British audio and film collectives (Sankfoa and Black Audio Film Collective)

Following the end of WWII, the fundamental nature of the British empire ceases to exist. That is to say that they were no longer an imperial power. This came with, by the 1970s, a large shift in immigration patterns into Britain with an increase in tensions between African immigrants and the native British. This, naturally, bred a new type of cinema characterized by themes and issues related to these tensions. Specifically, with Sankofa and the Black Audio Film Collective, a post colonial persepective was adopted. According to Sankofa, the "psychosexual dynamics and differences" with Britain's black population was featured. Films that exemplify this new type of black film were the 1986 films Passion and Rememberance and the Handsworth Songs

Tradition of quality

From French cinema & Francois Truffaut "Politique des queters" critiques this based upon literary adaptaion, dependent upon screenwrited & placed emphasis on spectacle and high production value

Henri Langlois

Henri Langlois (1914-1977) was a curator, film historian, and preservationist. He founded the Cinmeatheque Francaise in 1936. During WWII, he saved and catalogued film collection In France, he stimulated the cine-club movement. The exhibition of Hollywood and international cinema has great impact on the Cahiers writers and directors of the French New Wave

Cine Club

Henri Langois stimulated this movement in French New Wave Period (1st generation to understand cinema history The exhibition of Hollywood and international cinema has great impact on the Cahiers writers and directors of the French New Wave Neale Reading Cine-club movement developed due to censorship (Soviet Union) "...censorship & sexuality have figured as crucial elements in the emergence and consolidation of Art Cinema

Jean-Luc Godard

Jean-Luc Godard was a french-swiss director that came to light during the French New Wave film scene. Popular films included Breathless (1960), Contempt (1963), and Pierret le Fou (1965). He became the most influential New Wave Director when he challenged Hollywood conventions. Godard often criticized traditional cinema as being "craft over innovation". He, along with several other critiques began making their own films. He influenced cinema by creating movies that expressed his own political philosophies, while using different film making techniques. His unique style influenced the French New Wave by implementing on-location shooting, post-production sound, use of non-professional actors an improvisation, portrayal of a youth generation, and form. He broke the rules of continuity editing by using the Jump Cut, long rake, no establishing shots, disregarding the 180-degree rule, breaking the match-on editing style and eyeline match, elliptical narrative, and direct address of the camera.

John Akomfrah

John Akomfrah, 1957-present, is a British filmmaker, writer, and theorist, but was born in Ghana. He is known for advocating both radical politics and techniques in his filmmaking, specifically highlighting issues of race and postcolonialism. His first film as a director was Handsworth Songs in 1986. This film explored the aftermath of the 1985 Handsworth Riots, in Birmingham, a conflict between police and ethnic minorities following an arrest and raid of a public house. This led to attacks on police and property with looting and firebombs, in protest. In 1982, Akomfrah also founded the Black Audio Film Collective.

Les Cahiers du cinema

Les Cahiers du cinema was a french film magazine. Literally means cinema notebook The magazine was created in 1951. The magazine was created during the French New wave after WWII. The French New Wave developed within the economic, social, political, and cultural changes that occured in the post-WWII period. Arising in the late 1950s, a group of film critics turned film directors revitalized European cinema. France entered a period of Economic recovery, and this gives ways to an "apolitical culture of consumption and leasure. In 1948, the Law in aid of cinema was created. Movie theatre taxes were used to raise funds for domestic film prouction. There was an emergence of a youth culture fill of sexual liberation, rock music, new fashion, the growth of sports, tourism, and the leisure-class lifestyle. During the time, there were Cine Clubs, film journals, films screenings, and the import of American films. It was the first generation to have an understanding of the history of cinema. Andre Bazin (1918-1958) was the founder and major writer for Cahiers du Cinema. Bazin became one of the major film theorists during the French New Wave.

Photogenie

Photogénie is the photographic quality of things, which can only be expressed in cinema or enhanced by filmic reproduction It arose in early French film theory that focused on elevating cinema as an art form. It argues that the intangible moral qualities of both humans and objects can be revealed through the cinematic medium The director can "direct the lens towards increasingly valuable discoveries" in order to reveal the nature of the object under the lens It allows the camera to mediate the relationship between the spectator and the viewed object

Politique des auteurs

Politique des auteurs was a critique of French Cinema's "tradition of quality," which was based upon literary adaptation, dependent upon the screenwriter, and placed emphasis on spectacle and high production value. The idea was that film should be centered around the aeuter, or the director. In the Truffaunt reading, he recognizes that the role of the individual director (auteur) who has a unique vision made apparent by their distinct stylistic signature. The aueter was seen as a "genius" or a director with a particular worldview who could translate their vision into the cinema. Included critics like Godard and Truffaut The idea of the aueter was debated amongst many including Andre Bazin. Because of the experience of WWII and the Invasion of Paris, he became aware of the "socially conscious cooperative efforts over the valorization of individuals. This made him resistant to the idea of a single "auter" as the center pf the film. In the Sarris reading, using criterion of values such as technical competency, distinguishing characteristics, reoccurring themes, subjects, images, he believed the auteur theory may be used to understand the history of American cinema. Policy of treating any director with a personal style or distinct world view as a auteur Not supported by Bazin, but supported by other critics, extreme viewpoint

Cinémathèque Française

The Cinémathèque Français was a French Film organization that held one of the largest archives of film documents and film-related objects in the world. It was founded by Henri Langlois, a film curator and preservationist in the mid-1930s. Langlois protected French films throughout the Nazi Occupation of France and began showing them to French audiences after the war was over. The Cinémathèque Français was based in Paris, where Langois offered daily screenings of worldwide films. These film screenings inspired members of the Cahiers du Cinema whose film studies would inspire them to develop their theory of the aueter and thus, lay the foundation of the French New Wave. Viewers of the Cinémathèque Français screenings included Alain Resnais, Jacques Rivette, François Truffaut, Jean-Luc Godard, and Claude Chabrol.

Prague Spring

The Czech New Wave, taking place from 1963-1967, was marked by a period of reforms that gave filmmakers and the public more liberties. Of most consequence for the film industry, filmmakers were subjected to less censorship. Following the decentralization of the film industry and heavy government subsidization of film production, filmmakers came together as teams at places like the FTV School of the Academy of Performing Arts in Prague. During this time, known as the Prague Spring, Alexander Dubcek permitted these reforms to proliferate until it ended due to Soviet Invasion of Czech. In 1968, the leader of Czech Communist Party, Alexander Dubcek. Initiated a project of liberalization that he said would offer "socialism with a human face" What followed was a rebirth of political and cultural freedom long denied by party leaders loyal to Moscow. But nearly as soon as the comevement came to life, it was crushed under the threads of Soviet T-54 tanks In consequence, films that were allowed under the Prague Spring, such as Daisies by Vera Chytilova were then banned.

Czech New Wave

The Czech new wave came about in the early 1960s, when Czechoslovakia began a period of reforms, granted civil liberties, and had less censorship. At the time, the Czech film industry was decentralized and was organized as units led by director and screenwriter teams. Film production was government subsidized. Filmmakers were trained at the Film and TV School of the Academy of Performing Arts (FAMU). The movement itself was influenced by other European New "waves" of the time such as Italian Neorealism and Direct Cinema, and by the desire to move away from Socialist Realism (the official realist art style of the Soviet Union). However, it can only loosley be considered a stylistic movement as for the most part filmmakers only shared conditions of work, thematic concerns, and an urge to move beyond socialist realist formulas. On tendency of the movement was towards an art-cinema realism, where documentary techniques such as non-actors, hand-held cameras, and high contrast cinematography were used along with direct cinema techniques. They also often used comedic, satirical techniques, and abstraction of fantasy bordered with reality to invoke social commentary. Additional reforms came about in 1968, including granted limited freedoms, political openness, and democratic reforms, known as Prague Spring. These reforms ended, however, under the Warshaw Pact, when Military defense for the Soviet-Eastern bloc were established, the Soviet invaded Czech and the hard-line state was re-established. It was during this period that films of the Czech New Wave, like Vera Chytilova's Daises (1966) were banned. All of the films commented on the Czech communist regime in a negative way.Some important directors and films of the movement include Jiri Menzel who directed Closely Watched Trains (1966), Milos Forman who directed The Fireman's Ball (1967), and Vera Chytilova who directed Daisies (1966).

Warshaw Pact

The Czech new wave, which took place from 1963-1967, ended due to the Warshaw pact. The pact, signed in may of 1955, was meant to be a defense treaty between Soviet States and the Soviet Union during the cold war. The new era of freedom in Czech, known as the Prague Spring, allowed for political openness and democratic reform. However, with the violation of the Warshaw pact when the Soviet Union invaded Czech, these freedoms were effectively squelched. Films like the 1966 Daises by Vera Chytilova that featured an anarchic duo that provided astutue commentary about war and destruction, were no longer possible and banned.

French New Wave

The French New Wave developed within the economic, social, political, and cultural changes that occured in the post-WWII period Arising in the late 1950s, a group of film critics turned film directors revitalized European cinema. France enters a period of Economic recovery, and this gives ways to an "apolitical culture of consumption and leasure. In 1948, the Law in aid of cinema was created. Movie theatre taxes were used to raise funds for domestic film prouction. There was an emergence of a youth culture fill of sexual liberation, rock music, new fashion, the growth of sports, tourism, and the leisure-class lifestyle. There was a rise in state-funded film schools During the time, there were Cine Clubs, film journals, films screenings, and the import of American films. It was the first generation to have an understandhing of the history of cinema. Some key figures in the French New Wave include Henri Langois and Andre Bazin Some Characteristics of the French New Wave include: On-location shooting Hand-held camera and post-produciton sound Use of non-professional actors and improvisation Portrayal of youth generation Form (breaks the rules of continuity editing) Jump cut Long take No establishing shot Breaking 180 rule Disregard of match on editing style and eyeline match Elliptical narratives Direct address to the camera The first feature length film of the French New Wavew as Le Beau Serge Directer Claude Chabrol (1930-2010)

Freeze Frame

The freeze frame was a characteristic of art cinema. This occurs when a single frame of content shows repeatedly on screen, thereby freezing and extending the action for emphasis. It resembles a still photograph. This is accomplished either by printing multiple copies of the same frame on film or recording digitally the same shot multiple times Alain Resnais' Hiroshima, Mon Amour (1959) This techniques the tension between her, him, and Japan;s memory of the atomic bomb during the parade scene. The scene alternately freezes briefly on expressions on Her and Him's faces showing the longing between them.

Left-Bank Group

The left-bank group was a group of French New Wave filmmakers that stand in contrast with the "right-bank" group that were more associated with Cahiers du Cinema. They tended to be older and saw movies as similar to older art forms such as literature. Important left-bank directors were Alain Resnais, Agnes Varda, and Georges Franju.

180-degree rule

The rule regards the spatial relationship between characters and keeping the camera on one side of the imaginary axis between the two, where one character is always to the right of the other Breaking the 180-degree rule is a characteristic of French New Wave Cinema, a movement from 1959-1964. Breaking the 180-degree rule was a part of a larger breaking of the rules of continuity editing in French New Wave cinema, which also involved jump cuts, long takes, no establishing shots, disregarding match-on editing, elliptical narratives, and direct address to the camera. Breaking the rule means shooting on both sides, which can confuse the audience Examples of French New Wave films that break this rule include Claude Charbrol's (1959) Le Beau Serge and Agnes Varda's (1962) Cléo from 5 to 7

Immigration

The term itself refers to the movement of citizens from their native country to one that is foreign to them either for asylum, economic opportunity or adventure. In terms of film, immigration became a major issue during and after WWII because many countries were experiencing mass devastation. In an effort to flee, Africans immigrated to Britain for example in order to start a new life. Immigration often causes social conflict, and films that are based in the reality of different cultures meshing together often include the topic. The film Handswoth Songs came out of this immigration

Dogma 95

This was a manifesto calling for new purity standards in filmmaking in the post-Cold War era (1995). New waves of 1960s had betrayed their revolutionary calling and emerging technology was going to democratize cinema. They wanted to fight hollywood's globalization by going back to basics. This originates in Denmark with directors Lars von Trier, Thomas Vinterberg, (main ones)Kristian Sebring, and Soren Kragh-Jacobsen. It sought to move away from aueterism. "I swear as a director to refrain from personal taste! I am no longer an artist." 1. no auteur 2. on-location shooting 3. sound recorded in real time 4. hand-held camera 5. film mist be in colour with no special lighting 6. optical work and filters are forbidden 7. no superficial action (like murder) 8. temporal and geographical alienation are not accebtable 9. no genre movies 10. Academy 35mm

Valeska Griesbach

Valeska Griesbach is a film writer and director born in Bremen, Germany in 1968. She studied film in Vienna, Austria and has directed 3 films, Her most recent film, Western (2017) uses mostly newcomers as actors. Grisebach applies features of the American Western film genre to examine Western and Eastern European relations in the post-Cold War era which are characterized by foreign investment and development, unemployment, and new migration patterns. It also focuses on the colonia and postcolonial relations between Western European nations and the former communist bloc nations.

Postcolonialism

When used in the context of film, this term is considered to be an area of study which examines the relationship between citizens, infrastractures, and governments that have been colonized or acted as a colonizer. Postcolonialism studies the relationship between former colonies and their ruling governments by examining the change in the power dynamic as well as the economic and psychological effects left upon both parties. In France, for example, postcolonialism resulted in ethnic divides, unemployement, impoverishment, and lack of opportunity. This ever changing dynamic appears as the driving narrative force for many films made by new wave filmmakers who attempt to comment on the weakness of society (The battle of Algiers 1966) and Western (2017)

Young German Cinema

Young German Cinema preceded New German Cinema and began in 1965. In 1965, the state created a commission to provide interest-free loans for young filmmakers who had produced short films. These films dubbed "back-pack films" shared similarities with other "new wave" cinemas. Characteristics of Young German Cinema included focusing on the working class, the younger generation and social issues, while also shooting on-location with low budgets. Young German Cinema would serve as a precursor for New German Cinema. This transition from Young to New was the result of international acclaim for films coming out of Germany. This was a post-war, state subsidized program.

Auteur

a "genius," a director with a particular worldview who could translate their vision into the cinema Relevant in the politiques des aueters Auteur theory Pattern theory in constant flu emphaizing body of director's work developed by Cahiers critics in France and Sarris in America 3 criterions of value (for directors; aids in understanding American film history Thechnique Ability to put a film together with clarity and coherence Director as a technician Personal Style Distinguishabel personality to reflect expression or recurrent style/signature Director as stylist Interior meaning "Manifestation of internal meaning" (ultimate glory of cinema as art) Director as aetur French Auteurism Mise-en-scene, deep focus, long take, or montage German Auteurism: Autorenfilms Stood for solidarity, class struggle, & sexual emancipation Contributors/Readings Anti-auteur/critic: Andre Bazin Auteur: Bunuel Sarris, "Notes on Auteur Theory" with Truffaut comments on theory Theory may be used to understand American cinematic history through criterion of values Auteur: 3rdpremise of criterion of value (interior meaning) "Truffaut emphasizes auteur theory was merely a weapon for a given time & place" Truffaut: called the interior meaning the temperature of the director on set (close approximation of its professional aspect)

Issac Julien

co-director of Passion of Remembrance 1980, Julien organized the Sankofa Film and Video Collective with Martina Attille, Maureen Blackwood, Nadine Marsh-Edwards, and Robert Crusz in response to the social unrest in Britain. Sankofa was "dedicated to developing an independent black film culture in the areas of production, exhibition and audience". He received a BA in fine-art film from Central Saint Martins School of Art, London (1984) One of the objectives of Julien's work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting these to construct a powerfully visual narrative. Thematically, much of his work directly relates to experiences of black and gay identity (he is himself gay),[2] including issues of class, sexuality, and artistic and cultural history