Movements

MOVEMENTS & FILM STYLE TRENDS

1. French Impressionism (1918-1930)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 2. German Expressionism (1919-1926)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 3.Soviet Montage (1924-1935)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 4.Documentary Film Movement (1929-1950)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 5.Poetic Realism (1930-1939)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 6.Italian Neorealism (1942-1951) LIGHTING MOOD COLOR SOUND MUSIC EDITING 7.The Polish School (1955-1963)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 8.Free Cinema (1956-1959)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 9.Direct Cinema (1958-1962)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 10.British New Wave (1958-1963)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 11.French New Wave (1959-1964)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 12.Cinema Novo (1960-1972)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 13.Czech New Wave (1962-1968)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 14.The Movie Brats (Late 1960s - 1980s)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 16.New German Cinema (1968-1982)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 17.Japanese New Wave (1975-1985)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 18.Australian New Wave (1975-1985)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 19.Cinéma Du Look (1980-1991)affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 20. New Queer Cinema 1990 - 1995affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING 21. Dogme 95 (1995 - 2005) LIGHTING MOOD COLOR SOUND MUSIC EDITING 22. Mumblecore (2002-) affect on films elements LIGHTING MOOD COLOR SOUND MUSIC EDITING

what is a film movement?

A film movement is a wave of films usually following a particular trend in cinema of the time. Most trending movements in cinema are regional but influence world cinema. These films have cultural origins usually influenced by national tragedy, popular culture, or social issues.films that are produced within a particular period and nation share significant traits of style and form

TIME LINE

Absolute Film-Abstract Film-Art Film-Avant garde-Black Comedy-B picture-Cinema Novo-Cinema Verité-Direct Cinema-Docudrama-Documentary-Dramatization-Epic Theatre-Exploitation Film-Expressionism-Film Noir-Formalism- . Genre-German Expressionism-Materialist Cinema-Minimal Cinema-Naturalism-Neorealism-Neue Kino-New American Cinema-New Wave, or Nouvelle -Vague-Realism-Screwball comedy-Slapstick comedy-Spaghetti Western-Structuralist Film-Surrealism-Theatre of Cruelty- third cinema (CAPITAL = MAIN MOVEMENTS ) (1918-1930) 1. FRENCH IMPRESSIONISM (1919-1926) 2. GERMAN EXPRESSIONISM -(1910-1920s) Antecedents: (20s): -slapstick comedys -Absolute film /non narrative film -Avant garde/ abstract - surrealist (1924-1935) 3.SOVIET MONTAGE (1929-1950) 4.DOCUMENTARY FILM MOVEMENT (1930-1939) 5.POETIC REALISM (30s) - black comedy - screwball comedy (1942-1951) 6.ITALIAN NEOREALISM (40s- 60s) - B Films (1950s) - naturalism (50s- 60s) - new wave/ nouvelle wave -film noir (1955-1963) 7. THE POLISH SCHOOL (1956-1959) 8.FREE CINEMA (1958-1962) 9.DIRECT CINEMA (1958-1963) 10.BRITISH NEW WAVE (1959-1964) 11.FRENCH NEW WAVE (1960-1972) 12.CINEMA NOVO (60s) -third cinema - cienema verite - exploitation -spaghetti western (60s - 70s) -structural (60s- 80s) - new american cinema/ new hollywood/ hollywood renaissance (1962-1968) 13.CZECH NEW WAVE (1968) - neue kino ( 1960s - 1980s) 14.THE MOVIE BRATS (1967-1991) 15.LA REBELLION (1968-1982) 16.NEW GERMAN CINEMA (1975-1985) 17. JAPANESE NEW CINEMA (1975-1985) 18.AUSTRALIAN NEW WAVE (1980-1991) 19.CINEMA NEW WAVE (1990 - 1995) 20. NEW QUEER CINEMA (1995 - 2005) 21. DOGME 95 (2002-) 22. MUMBLECORE

Ages/ History of cinema / evolution of television

CINEMA AGES -silent cinema - golden age - hollywood - 16mm film - digital FACTORS Production The act of making film every aspect differs in every country(filmmaking studio business) ex) nollywood vs hollywood Distribution & exhibition How it's seen( theaters streaming) ex) Ireland, small towns vs us Audience: Who is able to translate to who is able to understand it culturally ex) us films being seen in North Korea ( they would understand) Discourse: what it's about ex). Just making a film to make it or having different intentions culture specific understanding different messages like propaganda. Insulting another country that makes sense culturally Tucson or one specific country well other cultures or countries do not understand it The role of the state: Our government is not involved they have no financial role in movies or Hollywood versus other place is a government funds all the forms to send messages to the country what is a form of control example Ireland movies/location different taxes higher or lower NHL TYPES OF CINEMA Us cinema (major studies, indie industry) Secondary commercial cinema (bollywood, hong kong) Art cinema State control (totalitarian ) Russian Third cinema (not entertainment)—-> ideological Sub state (niche groups, culturally separate within the us.) ex) Native American film International co- production(there is debate about this as we culture mash movies) HISTORY The film race began: who can claim the technology? The film began as a culturally separate art Technology started to evolve that allowed film to spread nationwide Edwead muybridge & etienne jules -----> were the first to document live action Wkl dickson & thomas edison----> who discovered 46 f/s started playing with images and sound and came up with 35 mm (basically) later in the kinetoscope In Paris the Lumiere brothers were looking at Edison's work created the cinematograph 26 frames per second in 1895 they make the first film screening From here the year 1895 was the beginning of film. It would soon be the 20th century and film spread quickly. How did it spread? What did people do with it? Artistically financially, politically? HISTORY - OBSCURA Camera obscura, is the natural optical phenomenon that occurs when an image of a scene at the other side of a screen is projected through a small hole in that screen as a reversed and inverted image (left to right and upside down) on a surface opposite to the opening. -LUMIER BROTHERS - SILENT FILM ERA - 8mm, 16 mm film - videoart - digital camcorders - HOLLYWOOD - Digital

film noir

Film noir is a stylized genre of film marked by pessimism, fatalism, and cynicism. The term was originally used in France after WWII, to describe American thriller or detective films in the 1940s and 50s. Though, Hollywood's film noir stretches back to the 1920s. Film noir literally translates to "black cinema" and French critics used it to describe Hollywood movies that were saturated with darkness and pessimism not seen before. It's hard to say if it's is a genre or style, and the elements of noir listed below do not all have to be present for the film to be considered noir. But they are extremely common with this style. COMMON ELEMENTS OF FILM NOIR Anti-hero protagonist Femme fatale Tight, concise dialogue High-contrast within a scene Often post-war disillusionment ex)The Maltese Falcon (1941) Laura (1944) The Blue Dahlia (1946) Mulholland Drive (2001)

16.New German Cinema (1968-1982)

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17.Japanese New Wave (1975-1985)

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18.Australian New Wave (1975-1985)

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19.Cinéma Du Look (1980-1991)

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20. New Queer Cinema 1990 - 1995

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21. Dogme 95 (1995 - 2005)

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8.Free Cinema (1956-1959)

PERIOD Free Cinema was a documentary film movement that emerged in the United Kingdom in the mid-1950s. The term referred to an absence of propagandised intent or deliberate box office appeal. ... Three of the screenings consisted of work from overseas film makers.

15.LA Rebellion (1967-1991)

PERIOD The L.A. Rebellion film movement, sometimes referred to as the "Los Angeles School of Black Filmmakers", or the UCLA Rebellion, refers to the new generation of young African and African-American filmmakers who studied at the UCLA Film School in the late-1960s to the late-1980s and have created a black cinema that provides an alternative to classical Hollywood cinema Major figuresCharles Burnett, Larry Clark, Julie Dash, Zeinabu Irene Davis, Jamaa Fanaka, Haile Gerima, Alile Sharon Larkin, Billy WoodberryInfluencesAfrican cinema, Cuban cinema, Cinema Novo, European art cinema, French New Wave, Italian neorealism, Latin American cinema EXAMPLES) Several Friends (1969) Single Parent Family: Images in Black (1976) Emma Mae (1976) Harvest: 3,000 Years (1976) Passing Through (1977) Killer of Sheep (1978) Bush Mama (1979) Penitentiary (1979) Gay Abel-Bey Anita W. Addison Shirikiana Aina Don Amis Melvonna Ballenger S. Torriano Berry Carroll Parrott Blue Storme' Bright (Sweet) Charles Burnett Ben Caldwell Larry Clark Julie Dash Zeinabu irene Davis Pierre Desir Alicia Dhanifu Omah Diegu (Ijeoma Iloputaife) Jamaa Fanaka Jacqueline Frazier Haile Gerima Alile Sharon Larkin Barbara McCullough Bernard Nicolas O.Funmilayo Makarah Thomas Penick Imelda Sheen (Mildred Richard) Monona Wali Grayling WIlliams Robert Wheaton Iverson White Actors[edit] The following actors appeared in various L.A. Rebellion films and are to some degree associated with the movement: Adisa Anderson Haskell V. Anderson III Barbara-O Charles David Brooks III Angela Burnett Nate Hardman Kaycee Moore Sy Richardson Henry G. Sanders everal Friends (1969)[14][15] Single Parent Family: Images in Black (1976) Emma Mae (1976) Harvest: 3,000 Years (1976) Passing Through (1977) Killer of Sheep (1978) Bush Mama (1979) Penitentiary (1979) Water Ritual #1: An Urban Rite of Purification (1979) Your Children Come Back to You (1979) Ashes and Embers (1982) A Different Image (1982) Illusions (1982) Bless Their Little Hearts (1984) Cycles (1989) To Sleep with Anger (1990) Daughters of the Dust (1991) Sankofa (1993) The Glass Shield (1994)[16] Adwa (1999) Compensation (2000) A documentary, Spirits of Rebellion: Black Cinema at UCLA, features interviews with many filmmakers associated with the movement. Directed by Zeinabu irene Davis, it was screened as a work-in-progress on Saturday, October 8, 2011 as part of "L.A. Rebellion: Creating a New Black Cinema."[2][17] L.A. Rebellion films that have been voted onto the National Film Registry: Killer of Sheep (1990), Daughters of the Dust (2004), Bless Their Little Hearts (2013) and To Sleep with Anger (2017). See also https://www.youtube.com/watch?v=AMpmq2i-vCs https://www.youtube.com/watch?v=tIC5pU4tM78 https://www.youtube.com/watch?v=sbfHaaJ_klI https://www.youtube.com/watch?v=Q9wdMJmuBlA https://www.youtube.com/watch?v=pOrCkzWLaRc

7.The Polish School (1955-1963)

PERIOD The Polish Film School was the first to underline the national character of Poles and one of the first artistic movements in Central Europe to openly oppose the official guidelines of Socialist realism. The members of the movement tend to underline the role of individual as opposed to collectivity. Some movie movements are unofficial, loose and at best the product of a few filmmakers who might not even be Facebook friends. Not so the Polish School. This was a tight-knit group of film grads who emerged from the famous Lodz Film School in the late '50s. They'd gathered in the school's rectorate building to watch American and European films that had been allowed into the country after Khrushchev's post-Stalin thaw, and those influences are visible in works that addressed the scars of war and repression with stylish elan, like jazz musicians playing a requiem mass. They worked together as graduates too. Jerzy Skolimowski and Roman Polanski collaborated on Knife In The Water, Skolimowski and Andrzej Wajda on Innocent Sorcerers, and they had each had been bereaved by the war: Wadja's father had been killed by the Russians, Skolimowski's by the Germans, while Roman Polanski's mother was murdered in Auschwitz. Their films, while differing in focus (Polanski's interest was psychology, Wajda's identity), shared a flair that would make the movement's name outside Poland. Tragedy struck in 1961 when Andrzej Munk was killed driving back from Auschwitz where he was filming Passenger. Key filmmakers: Andrzej Wajda, Roman Polanski, Jerzy Skolimowski, Wojciech Has, Andrzej Munk https://www.youtube.com/watch?v=_hbfDmo3Rto https://www.youtube.com/watch?v=nro-21-pid8 https://www.youtube.com/watch?v=7D4GQ0w04YU A Generation (1954), Kanal (1956), Ashes And Diamonds (1958) (pictured above), Farewells (1958), Innocent Sorcerers (1960), Knife In The Water (1962), Passenger (1963) (pictured top) The situation was not different in Poland. By the mid-1950s, the communist regime in Poland had lost much of its ideological focus. For the most part, Polish cinema at the time was able to avoid the rigorous censorship, and tell stories of folk heroes from both during and after the war. The result was one of the most important periods in the country's cinema, now known as the "Polish Film School" - an informal name for the films made between 1956 and 1965. Among the most prominent film-makers of the period were: Andrzej Wajda, Wojciech Jerzy Has, Kazimierz Kutz, Janusz Morgenstern, Tadeusz Konwicki and Roman Polański (who acted more than he directed during this period). Many of these had lived through the war and still had vivid memories of the ravages of war. It is therefore no surprise that war-themes were central in the School's works. In 1957, Andrzej Wajda's Kanał / Canal, won a Jury Special Prize at that year's Cannes Film festival. The story starts in Mokotów, a district of Warsaw, in mid 1944, the fifty-sixth day of the Warsaw Uprising. The Uprising will shortly fall after sixty-three days of fighting. After a decimated resurgent detachment makes a failed attempt to break away from the German troops' encirclement, Zadra, the commander, orders them to get through the waste-water piping to the city centre where the fighting is still going on. The group moves through the dark, winding underground system which is half filled with water and excrement, while the Germans guard at the manholes to throw grenades. The film, the second in a war trilogy by Wajda, is still considered to be one of the director's best: Tom Huddleston wrote in Time Out New York, On paper, the film sounds like a tough slog, and in some ways it is. Wajda lets us know from the very beginning what these soldiers' fate will be, as a doom-laden voiceover informs: 'These are the tragic heroes. Watch them closely in the remaining hours of their lives.' But the director is never content with simply detailing the tragic decline of a group of faceless walking wounded. He forces us to care for these characters, sketching their personalities in subtle, effective strokes: the grim and desperate captain, the love-struck youth, the out-of-place artist. The term "Polish Film School" was coined in 1954 by critic Aleksander Jackiewicz who expressed a hope that there would emerge a "Polish film school worthy of the great tradition of our art". (Prawo do eksperymentu, 1954) The school produced other films dealing with topics which were taboos until Stalin's death in 1953. Political events gave rise to the start of the school. The death of Stalinist Prime Minister Bolesław Bierut in 1956 brought forward a a short period of de-Stalinization. In June of that year, however, there was an uprising in Poznań. Former PM, Stanisław Gomułka returned to power in October of that year. The eruption of artistic energy and the emergence of the new wave of filmmakers in Poland after 1956 is usually described as the Polish School phenomenon - wrote Marek Haltof in Polish National Cinema. The political changes introduced after the Polish October of 1956 enabled young filmmakers to move away from socialist realist cinema and, to a large extent, to build their films around their own experiences. Despite the tense times in which the School operated, the films were not all high-browed. "The Polish School period is characterised by differing themes, incompatible poetics, edginess in terms of style and ideology, as well as sheer entertainment value", wrote Haltof, referring to films ranging from romantic themes, such as Wajda's Kanał and Popiół i diament / Ashes and diamonds (1958), to historical epics such as The Teutonic Knights (1960, Aleksander Ford) to comedy such as Ewa chce spac / Ewa wants to Sleep (1958, Tadeusz Chmielewski). Although many critics today agree that the Polish School was a central part of the country's industry, in the mid 1950s and early 1960s, there was no agreement that such a group even existed. Philippe Hadiquet commented an interview given to Le Monde in 1963 by Kazimierz Kutz, that "Polish cinema is decentralised" and that "there is no school". Nor did the concept of the "school" feature in Bolesław Michałek's and Jerzy Płażewski's seminal articles at the time, in Sight and Sound (1960) and Cahiers du Cinema (1958) respectively. However it is now obvious that the school's activities gravitated around the Łódź Film School, which at the time was one of the leading institutions in Europe. The School's eventual dissolution might be in part because of the group's disenchantment with the idea. In the word of Andrzej Wajda, "The real weakness of the Polish School of the 1950s, and the reason for its inevitable disappearance, was that its films presented heroes who were more stupid than History. In my mind, it's wrong to stand on the side of History instead of on the side of your hero". Selected filmography: Kanał / Canal (1956) dir. Andrzej Wajda Człowiek na torze / Man on the tracks (1956) dir. Andrzej Munk Cień / Shadow (1956) dir. Jerzy Kawalerowicz Eroica (1957) dir. Andrzej Munk Prawdziwy koniec wielkiej wojny (1957) dir. Jerzy Kawalerowicz Popiół i diament / Ashes and diamonds (1958) dir. Andrzej Wajda Ostatni dzień lata / Last days of Summer (1958) dir. Tadeusz Konwicki Pożegnania (1958) dir. Wojciech Jerzy Has Baza ludzi umarłych (1958) dir. Czesław Petelski Ewa chce spac / Ewa wants to Sleep (1958) dir. Tadeusz Chmielewski Pociąg / Night train (1959) dir. Jerzy Kawalerowicz Zezowate szczęście / Bad luck (1960) dir. Andrzej Munk Krzyżacy / The Teutonic Knights (1960) dir. Aleksander Ford Nóż w wodzie / Knife in the water (1961) dir. Roman Polański Jak być kochaną (1962) dir. Wojciech Jerzy Has Pasażerka / The passenger (1963) dir. Andrzej Munk Salto (1965) dir. Tadeusz Konwicki

14.The Movie Brats (Late 1960s - 1980s)

PERIOD https://www.youtube.com/watch?v=2iRa8hTD_6Y https://www.youtube.com/watch?v=-uCBYFHRHU0 https://www.youtube.com/watch?v=T-87BK1gM2A https://www.youtube.com/watch?v=dofnOwWfPxk&list=PLA11uteL7p_yFYt27b-ccl94EuYiz2z5N New young filmmakers who capitalised on these changes in HollywoodSome went to film school, or were critics or directed for TVLegitimised by auteur theoryInfluenced by European art movie traditions & pop culture 1st wave movie brats Bogdanovich, Coppola, Beatty, Kubrick, Hopper, Allen, Penn, Altman, Lester 2nd wave movie brats Scorsese, Spielberg, Lucas, Schrader, De Palma the new breed of young, energetic, film-school types who were itching to lead the movies into a new age of high-tech, high art, and high profits. The Movie Brats are small group of film makers from the film watchers generation, also defined by Barry Norman (1988) as "strictly children of the visual age." Arthur Penn as arguing that in the late 60's "what was happening was that enormous power had developed upon the directors because the studio system had kind of collapsed" (Cook, 2000) Steven Spielberg is the king, with hits ranging from ''Jaws'' to ''E.T. the Extra-Terrestrial.'' Martin Scorsese is doing well, winning praise for ''The King of Comedy'' and other pictures. George Lucas is riding high, with Chapter 3 in the ''Star Wars'' saga - ''Return of the Jedi'' - due next month. A theme of this movement is the difficulty of joining personal expression with big money and flashy show-biz traditions. Whatever the worth of an ''E.T.'' or a ''Star Wars'' or a ''Raging Bull, '' it's clear their creators believed in them deeply - and kept their visions intact, even while using the movie industry's potentially overwhelming technical and financial resources. Coppola had this skill. He knew how to make big pictures that reflected his own background and preoccupations, like the ''Godfather'' epics; and he knew when to keep a project intimate and concentrated, like ''The Conversation.'' He tested his talents to the utmost in ''Apocalypse Now,'' a Vietnam-war drama that called for mountains of money and arduous ''location'' shooting. It reached the screen late and was a little scruffy, but it impressed critics and audiences. Examples) Arthur Penn's Bonnie and Clyde (1967), Coppola's The Godfather (1972) Scorsese's Mean Streets (1973), Spielberg's Jaws (1975) ''The Outsiders'' and ''The Black Stallion Returns,'' are a far cry from the ''Godfather'' films and ''Apocalypse Now.'

5.Poetic Realism (1930-1939)

PERIOD in the 1950s divisions were far more rigid. The 'new wave' films and the sources that inspired them gave a voice to a working-class that was for the first time gaining some economic power What is it? Is the stylishly lit film you're watching full of jaundiced, blue collar types pining for lost love or just a solid slug of cognac? Are they wanted by the police or, worse, down to their last few Gauloises? Does life have nothing but hardship and despair to offer and only a quick snog with Michèle Morgan by way of consolation? If the answer to any of these is 'yes', welcome to poetic realism! This was a glorious era in French cinema that emerged from a particularly inglorious phase of French history. Imbued with the prevailing gloom of the time, the films of "le réalisme poétique" are populated with fatalistic figures often played by Jean Gabin, Arletty or Jean Dasté, and plucked from the pages of great writers like Émile Zola and Leo Tolstoy or penned by writers like Jacques Prévert and Charles Spaak. Characters like Gabin's jewel thief Pépé Le Moko, trapped like a rat in an Algiers casbah, and Pierre Fresnay's self-sacrificing aristocrat in Grand Illusion were emblematic of a country at odds with itself and swirling slowly towards the plughole of another ruinous war. The movement's directors were a motley array, with little to thread them together beyond their artistry. Carné was the son of a cabinet maker; Duvivier, a gifted actor himself; Jean Grémillon, a Norman with aspirations to compose classical music; while Jean Renoir, of course, was scion of a certain Claude Renoir who was known to paint a bit. This flowering of French cinema was abetted by a deeply talented pool of writers, set designers, composers and movie stars, of whom the saltily sexy Gabin, a Bogart for the boulevardiers, remains a chiselled figurehead. What did it influence? French directors from Godard to Bresson have drunk from the well of poetic fatalism, but it crossed borders too. Italian neorealists like Luchino Visconti, who worked as assistant director on two Renoir films, and Michelangelo Antonioni, who also worked with Renoir and served as assistant director to Carné, were both inspired by their Gallic jaunts. Duvivier's Pépé Le Moko, meanwhile, lent amoral DNA to Graham Greene's The Third Man, while its blend of grit and lyricism left its mark on the likes of Terence Davies, Aki Kaurismaki and Steven Soderbergh. EXAMPLES) La bête humaineJean Renoir Children of ParadiseMarcel Carné The Lower DepthsJean Renoir Lumière d'étéJean Grémillon Pépé le mokoJulien Duvivier RemorquesJean Grémillon The Rules of the GameJean Renoir https://letterboxd.com/vince_dimeglio/list/film-movement-french-poetic-realism-1930/

4.Documentary Film Movement (1929-1950)

PERIOD non-fiction or 'actuality' filmsThe Documentary Film Movement is the group of British filmmakers, led by John Grierson, who were influential in British film culture in the 1930s and 1940s.The founding principles of the movement were based on Grierson's views of documentary film. He wished to use film to educate citizens in an understanding of democratic society. The movement began at the Film Unit of the Empire Marketing Board in 1930. The unit was headed by John Grierson, who appointed apprentices such as Basil Wright, Arthur Elton, Edgar Anstey, Stuart Legg, Paul Rotha and Harry Watt. These filmmakers were mostly young, middle-class, educated males with liberal political views. In 1933, the film unit was transferred to the General Post Office. From 1936, the movement began to disperse and divisions emerged. Whereas previously the documentary film movement had been located in a single public sector organisation, it separated in the late 1930s into different branches, as filmmakers explored other possibilities for developing documentary film. By 1937, the movement was spread across four different production units: GPO, Shell (headed by Anstey), Strand (headed by Rotha) and Realist (led by Wright). In 1939, Grierson left Britain to work with the National Film Board of Canada, where he remained until 1945. In 1940, the GPO Film Unit was transferred to the Ministry of Information and renamed the Crown Film Unit. http://www.screenonline.org.uk/film/id/446186/

12.Cinema Novo (1960-1972)

PERIOD Cinema Novo marks an important moment in the history of Brazilian cultural productions because it is understood as the first instance where Brazilian films began to gain a consistent level of positive critical reception outside of Brazil.political, philosophical, and historical meaning. T https://www.youtube.com/watch?v=72uRqJuUwzc https://www.youtube.com/watch?v=thkUxhBOgXM Cinema Novo was a Brazilian film movement of renewal, influenced by the current of Italian neorealism and by the French film movement born in the late 1950s, known as Nouvelle Vague. A big feijoada stew of politics, raw cinematic verve and sheer Brazilian-ness, spiced with a fair helping of agitprop fury, Cinema Novo probably won't be to all modern tastes. Inspired by Italian neorealism of Rossellini and De Sica, it blasted onto Brazil's screens in the early 1960s with impassioned social dramas and politicised directors to the fore. Key figures included Nelson Pereira dos Santos, whose semi-documentary Rio 40° was a pre-tremor for the movement in 1955, Ruy Guerra and a twentysomething firebrand by the name of Glauber Rocha. The latter's penchant for a T-shirt friendly slogan ("The artist's goal is to outrage," he was fond of saying) translated into Black God, White Devil in 1964, a filmic fireball that featured murder, black magic, baby sacrifice, demented camerawork and a lot of goats. inema Novo's directors aimed at exploitative landlords and uncaring bureaucrats. It came to epitomise what this first flaring of Latin America's so-called Third Cinema would stand for: movies for the poor, marginalised and unrepresented of the urban favelas and the sertão scrublands against the colonisers and ruling classes. From there, the movement moved from its self-proclaimed "aesthetic of hunger" to a second and third phase that embraced the Brazil's relationship with tropicalia, kitsch and, thankfully, to a much lesser extent, cannibalism. examples) Vidas Secas Dragão da maldade contra o Santo Guerrero Macunaíma Barren Lives (1963) (pictured top), Black God, White Devil (1964), The Guns (1964), The Priest And The Girl (1966), Land In Anguish (1967), Antonio Das Mortes (1969), How Tasty Was My Little Frenchman (1971) Bye Bye Brazil Key filmmakers: Glauber Rocha, Carlos Diegues, Ruy Guerra, Nelson Pereira dos Santos, Joaquim Pedro de Andrade What did it influence? Third Cinema directors in Latin America, including Argentines Fernando Solanas and Octavio Getino, as well as filmmakers from further afield like Gillo Pontecorvo. His 1966 black-and-white film The Battle Of Algiers owes a lot to Rocha and co. In the mid-fifties, Brazilian cinema found itself in a very delicate situation: despite all the efforts and investments made in the past, it was not able to develop and was threatened with extinction by lack of will and creativity. Salvation came from Europe. Cinema Novo, a new breath in Brazil More precisely salvation came from Italy, then from France, two countries known for their love of film. In the ruined and devastated Italy of the immediate post-war years, filmmakers had to contend with what they had, or rather what they did not have: extremely tight budgets and no studios to shoot in. Above all, their aim was to describe the hard life of people trying to regain their footing after dark years, they placed their cameras in the street and filmed quickly by the light of day. Rossellini, De Sica, Visconti were the then new protagonists of a liberated cinema that broke the existing codes. Their films are screened successfully around the world, and Brazil is no exception. If Roberto Rossellini's "Rome, open city" can be considered as the founding act of Italian neorealism in 1945, ten years later Nelson Pereira dos Santos' Rio, 40 Graus (Rio, 40°) is that of Brazilian cinema Novo. Like his colleague Alex Viany, Dos Santos has learned the Italian lesson: it is necessary to describe daily life in the cities of Brazil as simply as possible and without pretence. This is achievable through a direct cinematographic language, free from verbosity. Shot in natural settings with non-professional actors, Rio, 40 Graus shows nothing only the occupations of five small peanut sellers in the favelas of Rio. This uncompromising description of Brazilian reality obviously led to political positions that would only encourage the dark times to come. The second shock that boosted Cinema Novo took place in the late fifties in France. Godard, Chabrol, Rivette and Truffaut received the prize at Cannes 1959 with Les 400 coups and this became an emblematic film of the new French wave. Here again, Brazilian filmmakers found a new source of inspiration. Cinema Novo was in fact a mixture of Italian neo-realism and French new wave, the two genres that rejected the exhausted themes of old cinema and who produced works more in touch with real life. Paradoxically, the first Brazilian films to receive international recognition were shunned by the directors of Cinema Novo. At Cannes in 1962, O pagador de promesas by Anselmo Duarte, did not win the approval of critics and Brazilian filmmakers who criticized him mainly for not concentrating more on the problems of the city. The film was voluntarily located in the countryside. "O pagador de promesas" finally propelled Brazil to the front of the world art scene, even if it was not really part of the Cinema Novo that the Brazilians would have liked to have made known to the world. When in 1967 the Bahian Glauber Rocha won the international critics award in Cannes with Terra em Transe (Earth in a trance), and that of staging in 1969 with Antonio Das Mortes, the followers of Cinema Novo could finally enjoy the moment: their most loyal representative was finally recognized by their international peers. The problem then, was that Brazil was hit by a political bombshell and the film-makers, like the artists in general, had the choice between producing works which attracted the good graces of those in power, or to try to express themselves freely, outside of Brazil, which is what Glauber Rocha did in 1971. n 1964, a military coup led by Marshal Castelo Branco overthrew João Goulart's presidency, and a dictatorship backed by the United States and the CIA would kept the country in a state of tension and repression. This would only relax slightly around the mid-seventies, before a return to democracy in 1985. For filmmakers who had chosen to stay in the country, the problem with openly engaging their work with certain ideals was no more. While some opted for material totally devoid of political motives, others used masked allegory to express their ideas, like Nelson dos Santos. Then there were those who chose to make completely experimental films, like Rogério Sganzerla, or Júlio Bressane. The underground cinema or "Udigrudi" broke even more norms than novo cinema did and rallied all those who were against military control of the country. Paradoxically, it was from this power that welcome help would come. Desiring to control the means of expression that is the cinema, but aware that it cannot survive without help, the government created the "Embrafilme" (Brazilian Film Company) to finance local production. Reusing the old pre-war recipes, it also taxed all foreign films entering Brazilian territory. In a rather funny way, the subsidies would often go to the filmmakers who formerly claimed Cinema Novo in the seventies. These years would however bring Brazilian cinema to a new existential crisis: the cinema auteur is no longer commonplace, being replaced by the insipid "pornochanchadas", soft erotic comedies little subject to censorship since completely devoid of potentially subversive political statements, or in a diametrically opposite style, by movies for children. Despite some nuggets like Dona Flor e seus dois maridos (Dona Flor and her two husbands) in 1976, by Bruno Barreto, or Pixote - A lei do mais fraco (Pixote, the law of the weakest) in 1981, by Hector Babenco, the situation became critical for Brazilian cinema, which was now struggling to find a public hit because of the economic crisis and the fact that the public preferred to follow "novelas" (soap operas) on television. The cinemas broadcast less and less Brazilian films and the directors turned to short films in which they gleaned some recognition. A new era is upon us.

9.Direct Cinema (1958-1962)

PERIOD Direct cinema is a documentary genre that originated between 1958 and 1962 in North America, principally in the Canadian province of Quebec and the United States, and developed by Jean Rouch in France.[1] It is defined as a cinematic practice employing lightweight filming equipment, hand-held cameras and live, synchronous sound that was available to create due to the new ground-breaking technologies that were being developed in the early 1960s. This offered early independent filmmakers the possibility to do away with the large crews, studio sets, tripod-mounted equipment and special lights in the making of a film, expensive aspects that severely limited these low-budget early documentarians. Similar in many respects to the cinéma vérité genre, it was characterized initially by filmmakers' desire to directly capture reality and represent it truthfully, and to question the relationship of reality with cinema.[2] IT came from —The desire for a new cinematic realism and the development of the equipment necessary to achieving that desire - lightweight cameras Direct cinema was made possible, in part, by the advent of light, portable cameras, which allowed the hand-held camera and more intimacy in the filmmaking. It also produced movements that are the style's visual trademark.[4] -objectfulness truthfulness Direct cinema gained its importance in the perspective of the popular evolution of ideas about reality and the media. sound before the 1960s before sound recording machinery was either extremely heavy or unreliable EXAMPLES) The Chair Gimme Shelter gret gardens chronicle of a summer salesman

6.Italian Neorealism (1942-1951)

PERIOD In 1937, Benito Mussolini founded Cinecitta, a massive studio that operated under the slogan "Il cinema è l'arma più forte," which translates to "the cinema is the strongest weapon." The purpose of the studio was to produce propaganda films for the Italian state. But during the war, it was bombed by Allied forces and nearly entirely destroyed.After the war, filmmakers had to find a new way to produce their stories. Many directors chose to shoot their films in the streets, with low budgets and amateur actors. SEMINAL NEOREALIST FILMS The term Neorealismo, which directly translates to "new reality" or "new realism," sprouted in the wake of World War II in Italy. Neorealismo signified a trend in art and film that aimed to provide insight into the contemporary Italian society of the 1940's. The films associated with Italian Neorealism are focused on showing Italy removed from Fascist influence. Characteristics of Italian Neorealism: Social disorder Representations of extreme poverty "The Rehabilitation of an entire culture and people through cinema" - Martin Scorsese Mean Streets, Taxi Driver, and Goodfellas are all films that were directly inspired by the films we've talked about in this article. But Martin Scorsese admits that Fellini, Rossellini, and De Sica find their way into all of his works. There are also many other modern directors who were clearly influenced by the Italian Neorealist movement. Amongst them are David Lynch, Jim Jarmusch, and Richard Linklater. Neorealismo also influenced other major movements including the French New Wave and Commedia all'italiana. examples Roma Citta Aperta (1945) Ladri di Biciclette (1948) I Vitelloni (1952) La Strada (1954) Viaggio in Italia (1954)

13.Czech New Wave (1962-1968)

PERIOD While the attack on tradition and the falsifications of Socialist Realism was spearheaded by the younger generation, an older generation who had paved the way for the New Wave, joined in with the new freedoms of the 1960s and began producing some of their best and most groundbreaking work. Among them were Frantisek Vlácil, Stefan Uher, Vojtech Jasny, Karel Kacyna and the directing team of Ján Kadár and Elmar Klos who won the first Czechoslovak Oscar for Best Foreign Language Film in 1965 for their film A Shop on the High Street. Taking advantage of the movement's international success, some of its leading figures, such as Milos Forman and Vera Chytilová, began making bolder attacks on the communist authorities. The climate of liberalisation in Czechoslovakia that had allowed such creativity to flourish culminated in the 1968 Prague Spring when new leader Alexander Dubcek came to power. His plans to bring "socialism with a human face" to Czechoslovakia through reform was quickly crushed, however, when Soviet and Warsaw Pact tanks rolled into the country and reinstalled the most hard-line communist government in the country since the Stalinist era. The intervention brought the Czechoslovak New Wave to an abrupt end and resulted in Milos Forman, Jan Nemec and others, fleeing the country to resume their career abroad. Others who remained faced censorship of their work or were, for some years, prevented from working in cinema at all. KEY DIRECTORS Věra ChytilováJuraj HerzMiloš FormanJan NěmecDusan HanákAntonín MášaVojtěch JasnýJiří MenzelJaromil JirešIvan PasserPavel JuráčekEvald SchormKarel KachyňaFrantišek Vláčil KEY FILMS The Sun in a Net by Štefan Uher (1962) Black Peter by Miloš Forman (1963) Loves of a Blonde by Miloš Forman (1965) The Shop on Main Street by Ján Kadár and Elmar Klos (1965) Intimate Lighting by Ivan Passer (1965) Pearls of the Deep by Jiří Menzel, Jan Němec, Evald Schorm, Věra Chytilová, Jaromil Jireš (1966) Closely Watched Trains by Jiří Menzel (1966) A Report on the Party and Guests by Jan Němec (1966) Daisies by Věra Chytilová (1966) The Firemen's Ball by Miloš Forman (1967) Marketa Lazarova by František Vláčil (1967) The Joke by Jaromil Jireš (1968) The Cremator by Juraj Herz (1969) The Ear by Karel Kachyňa (1970) Valerie and Her Week of Wonders by Jaromil Jireš (1971) https://www.youtube.com/watch?v=_rTRzXE24-Y https://www.youtube.com/watch?v=226Ws4YS0sM https://www.youtube.com/watch?v=qPbAFPD6-EA https://www.youtube.com/watch?v=a30ng2XVWRc&list=PLWe2RiG6bRVdkJdZ9HDsHF9J_G27ZHjRI The Czechoslovak New Wave was a movement in cinema beginning in 1963 and lasting until the end of the Prague Spring reforms of 1968. Led by students of the Film and Television School of the Academy of the Performing Arts in Prague (FAMU), the arrival of this new wave of cinema came about largely as a result of new directions in the arts generally and the pressure for social and political reform that developed both inside and outside of the Communist Party in the 1960s - a collective pressure that led to the abolition of censorship and the movement towards increased democratisation. The three films that launched the wave were the debut features of Milos Forman (Black Peter), Vera Chytilová (Something Different), and Jaromil Jires (The Cry). They were followed by the work of a whole range of debut directors, among them Jan Nemec, Evald Schorm, Pavel Jurácek, Jan Schmidt, Ivan Passer, Jiri Menzel, Hynek Bocan, Juraj Jakubiso, Dusan Hanák, Elo Havetta, and Drahomira Vihanová. Each tended to go in different creative directions and find their own individual approaches, although their films often shared a common sense of humour, absurdity, pathos, and sometimes startling surrealism.

10.British New Wave (1958-1963)

PERIOD britain in 1953- 1963 in the 1950s divisions were far more rigid. The 'new wave' films and the sources that inspired them gave a voice to a working-class that was for the first time gaining some economic power a nation famed for its archaic class system, the British New Wave originated from the unified desire among creative minds such as Karel Reisz, Jack Clayton, John Schlesinger and Lindsay Anderson to share realist stories that highlighted the struggles of working class life. The British New Wave has incredibly close ties to other established movements associated with literature, paintings and theatre. Most notably, it coincided with the 'angry young men,' a group of working-to-middle class playwrights who made a huge impression on the theatre world throughout the 1950s. As the angry young men, the likes of John Osborne and Tony Richardson continued explored sociopolitical topics in the 1960s, taking these politicised discussions from theatres to the cinema. With a particular emphasis on working class life, the British New Wave appropriately showed the hardships of life in the United Kingdom. This social realist approach became known as 'kitchen sink realism', thanks to expressionist painter John Bratby's famed portrait of a kitchen sink. However, the term is not exclusive to the cinematic movement. While Kitchen Sink Cinema strived to tell the stories from poorer backgrounds, it would not tell the whole story of the British New Wave. The entirely unexpected international success of Tom Jones and the influence of its filmmaking traits meant that Kitchen Sink Cinema would take a back seat to comedic and provocative interpretations of sixties culture. While Kitchen Sink productions would practically come to an end by 1963, the exploits of 'swinging London' would define the remaining years of Britain's New Wave. However, the former has arguably made a greater impact on contemporary British filmmaking. The popularity of mainstream cinema ultimately overshadowed the British New Wave in the '60s, with international success for releases such as A Hard Day's Night and James Bond franchise. However, the somewhat short-lived movement made a lasting impression on the nation's independent filmmakers. Internationally acclaimed director Ken Loach has dedicated his life to societal dramas with a realist approach, while the likes of Shane Meadows and Lynne Ramsey have also successfully ensured that the hardships of working class Britons have not been forgotten in local theatres EXAMPLES) Room at the Top (1959) Director: Jack Clayton The Entertainer (1960) Director: Tony Richardson Saturday Night and Sunday Morning (1960) Sanctuary (1961) Director: Tony Richardson A Taste of Honey (1961) Director: Tony Richardson A Kind of Loving (1962) Director: John Schlesinger The Loneliness of the Long Distance Runner (1962) The L-Shaped Room (1962) This Sporting Life (1963) Tom Jones (1963) Billy Liar (1963) Darling (1965) The Knack... And How to Get It (1965) Alfie (1966) Morgan - A Suitable Case for Treatment (1966) if... (1968)

22. Mumblecore (2002-)

PERIOD Mumblecore is a subgenre of independent film[1][2] characterized by naturalistic acting and dialogue (sometimes improvised), low-budget film production, an emphasis on dialogue over plot, and a focus on the personal relationships of people in their 20s and 30s. Filmmakers associated with the genre include Andrew Bujalski, Lynn Shelton, Mark Duplass, Jay Duplass, Greta Gerwig, Aaron Katz, Joe Swanberg,[1][3][4] and Ry Russo-Young. In many cases, though, these directors reject the term.[5] The genre is a mostly American phenomenon,[6] but Indian and German mumblecore films have also been produced. The term mumblegore has been used for films mixing the mumblecore and horror genres.[7]Naturalism - both in performance and dialogue - is a key feature of almost all mumblecore filmsEarly mumblecore films tended to feature non-professional actors,[1][2][8] although later films have had more professional actors,[9] including major stars such as Anna Kendrick (Drinking Buddies and Happy Christmas) and Orlando Bloom (Digging for Fire). Some mumblecore films feature a prominent use of improvisation,[2][8] with the cast sharing script credits,[1] though some, like Bujalski's films, are mostly scripted.[10] Director Lynn Shelton in 2012 Mumblecore films are generally produced with a low budget, which has ranged from several thousand to several million dollars as well as low production values.[8][11] Filming is done in real places, as opposed to studio sets or soundstages. Many of these films are shot digitally,[1][11] although Bujalski's films have all been shot on film.[12] Soundtracks tend to be limited, or nonexistent. Mumblecore films tend to revolve around characters in their twenties and early thirties who are usually single, white, and fairly aimless in both their professional and personal lives.[11][13] Plots are often concerned with difficulties in romantic relationships, exacerbated by the characters' inability to articulate their own desires.[11] Influences on mumblecore[edit] The genre can trace its roots back to the French New Wave of the 1960s—especially the films of Eric Rohmer—whose films focused on the romantic intrigues of characters, and depicted lengthy conversations. Other films that have been described as influencing, or at least anticipating, the conventions of mumblecore include Girlfriends (1978), Manhattan (1979), Stranger Than Paradise (1984), Slacker (1991), Sex, Lies, and Videotape (1989), Clerks (1994), Go Fish (1994) and Before Sunrise (1995).[14][15][16] Reality television, including what one critic called "the spring-break psychodrama of MTV's The Real World", has also been called an influence on mumblecore.[17] Another often-cited influence on mumblecore is the profusion of cheaper filmmaking technology starting in the early 2000s,[17] such as the Panasonic AG-DVX100 video camera,[3] and desktop video editing software such as Final Cut Pro.[18] History[edit] Andrew Bujalski has been described as the "Godfather of Mumblecore".[8] His 2002 directorial debut, Funny Ha Ha, is generally considered to be the first mumblecore film.[11] The 2005 South by Southwest Film Festival screened a number of other films that came to be considered part of the mumblecore movement, including Bujalski's second film, Mutual Appreciation; The Puffy Chair, by Mark Duplass & Jay Duplass; and Kissing on the Mouth, by Joe Swanberg.[2][8][9][19] That festival was also the origin of the term "mumblecore": Eric Masunaga, a sound editor who has worked with Bujalski, coined the term one night at a bar during the festival, when asked to describe the similarities between those three films.[8] The term was first used publicly by Bujalski in an interview with indieWIRE.[2][11] Bujalski has downplayed the existence of an organized "movement", however, and stated that he does not intentionally make "mumblecore" films.[5] Film journalists have also referred to the genre collectively with the terms "bedhead cinema" and "Slackavetes" (a portmanteau derived from the title of Richard Linklater's dialogue-heavy, lo-fi 1990s film Slacker,[2] and the name of independent film director John Cassavetes). In 2007, the IFC Center in New York City exhibited a ten-film series of mumblecore films, titled "The New Talkies: Generation D.I.Y."[2] New York-based Benten Films, a boutique DVD label run by film critics, has championed such mumblecore titles as Swanberg's LOL, and Katz's first two films: Dance Party USA and Quiet City.[20] Some critics have stated that mumblecore ended around 2010, as the original crop of directors began making films with larger budgets, more diverse storylines, and a more conventional cinematic approach.[21][22] For this reason, films made since 2010 or so that retain an emphasis on naturalistic dialogue and plot are sometimes referred to as "post-mumblecore". Filmmakers who have been labelled as "post-mumblecore" include Kentucker Audley, Amy Seimetz, Sean Price Williams, Alex Karpovsky, Alex Ross Perry and Kate Lyn Sheil.[23]utside the United States[edit] Indian cinema has been producing independent films of the genre for decades. Directors like Sai Paranjpye have made films like Chashme Buddoor (1981) and Katha (1982). One of the more recent ones to come out from the Hindi scene is Sulemani Keeda.[citation needed] Alvaro Robles (Chile) made the films "El Sueño del Caracol" (2000) and "Huevo Negro" (2001), both of which suggest similar principles as mumblecore. In that same time, in 2001, he wrote an essay on "post-cinema" (2001), in which he openly describes the essential characteristics of mumblecore, being a precedent of the movement outside the United States.[citation needed] Mumblecore has not been a strictly American phenomenon. Since about 2009, the Berlin Mumblecore movement has had its own manifesto, Sehr gutes Manifest. Berlin Mumblecore is not a reaction to the American hype so much as it is a reaction to the lack of reform in the German public financial support system for the film industry (Filmfoerderung). Crowdfunding is a new possibility to finance movie productions with small and very small budgets independently from restrictions of the German Filmfoerderung.[28]

11.French New Wave (1959-1964)

http://www.newwavefilm.com/about/french-new-wave-politics.shtml http://www.newwavefilm.com/about/history-of-french-new-wave.shtml https://youtu.be/JZGLhgW6Rwc https://youtu.be/o7AAoCbkuaI https://youtu.be/Mu4PBq1tWvM https://youtu.be/AtiHHy20w3U PERIOD The French New Wave of cinema, or La Nouvelle Vague, was one of the most important film movements of all time. In this article, we're going to rank the best French New Wave Films based on four criteria: Acting, Story, Directing and Style. But before we jump into the ranking, it's important to know what the French New Wave is. This is our list of the best French New Wave films, including work from the critics of Cahiers du Cinema and the directors of the Left Bank. For decades, mainstream filmmaking, especially from Hollywood, set the standards and "rules" on how to make a film. The French filmmakers understood those rules...and then threw them out the window. The smaller, lightweight cameras were often "freed" from the tripod and handheld, giving a new life and energy to their films. Non-linear and fragmented editing became another major and exciting contribution. For decades, each Shot A led logically into Shot B, leaving no gaps in the information to keep the audience from being confused. Now, in these French films, logic became a secondary concern. FRENCH NEW WAVE CHARACTERISTICS: Deemphasized plot & dialogue was often improvised Jump cuts rather than continuity editing Location shooting Handheld cameras Long takes Direct sound & available light (live recordings, often didn't adjust light) ex). Band of Outsiders (Bande a Part) (1964) 14. Pierrot the Madman (Pierrot Le Fou) (1965) 13. Shoot the Piano Player (Tirez sur le Pianiste) (1960) 12. The Cousins (Les Cousins) (1959) 11. Lola (1961) 10. Farewell, Philippine (Adieu Philippine) (1962) 9. Jules and Jim (Jules et Jim) (1962) Last Year at Marienbad (L'Année dernière à Marienbad) (1961) Hiroshima My Love (Hiroshima mon amour) (1959) 6. Paris Belongs to Us (Paris nous appartient) (1961) 5. Cleo from 5 to 7 (Cleo de 5 a 7) (1962) 4. My Life to Live (Vivre sa vie) (1962) 3. Contempt (Le Mepris) (1959) 2. Breathless (A bout de souffle) (1960) 1. The 400 Blows (Les Quatre Cents Coups) (1959)

3.Soviet Montage (1924-1935)

https://www.youtube.com/watch?v=-RtBAa4YCgo https://www.youtube.com/watch?v=JYedfenQ_Mw PERIOD Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing. It formalism to filmmaking. , Sergei Eisenstein marked a note of accord in "A Dialectic Approach to Film Form" when he noted that montage is "the nerve of cinema", and that "to determine the nature of montage is to solve the specific problem of cinema". Its influence is far reaching commercially, academically, and politically. Alfred Hitchcock cites editing (and montage indirectly) as the lynchpin of worthwhile filmmaking.Soviet Montage Theory is a film movement that took place in Soviet Russia during the 1910's, 20's and into the early 30's. It was founded by Lev Kuleshov while he was teaching at the Moscow Film School. According to prominent Soviet director Sergei Eisenstein, there are five different types within Soviet Montage Theory: Metric, Rhythmic, Tonal, Overtonal and Intellectual. The movement is widely known for changing the landscape of film editing around the world. The Kuleshov Effect Explained We only touched on the Kuleshov Effect as part of Soviet Montage Theory, but in this next article we break it down in further detail with modern examples, including the work of Steven Spielberg. Up next is "The Kuleshov Effect Explained (and How Spielberg Subverts it.)" What is montage in film? The word 'montage' is rooted in the French language as a term to describe the connection of individual pieces, whether they be film, music or images, into a cohesive whole. But to understand why montages became a major component of Soviet cinema, we have to first look at how the industry got to that point. The Moscow Film School or VGIK was founded in 1919 during the midst of the Russian Revolution. One of the foremost professors at the School was Lev Kuleshov, who had begun experimenting with new ways of editing film by 1920. In 1923, Vladimir Lenin and the Bolsheviks usurped control of the Russian government. What followed was a period of radical change, both socially and economically. Consequently, at this time it was incredibly difficult to find film stock in Russia, so instead, the people were left to study film rather than create it. Kuleshov, along with his students, explored the process of film editing rigorously. During his professorship, Kuleshov released a short film that would go on to become the foundation of Soviet Montage Theory. TYPES OF MONTAGE FILM Intellectual Montage The idea behind Kuleshov's short film was to combine a single, center-framed shot of the popular actor Ivan Mosjoukine with three other distinct shots: The first is a bowl ofsoup, the second is a girl in acoffin, and the third is awomanlying on a couch. Metric Montage After Kuleshov created the intellectual montage, other types began to pop up in its wake. One such example is the Metric Montage in which a film is cut per frame. Rhythmic Montage If the Metric Montage is used to establish a visual pace, then the Rhythmic Montage is used to keep to the pace, in both a visual and auditory sense. Tonal Montage The Tonal Montage is the use of two or more shots that support one another and build a theme, quite to the opposite effect of the Intellectual Montage. Here's a video essay on Parasite's montage; Director Bong Joon-ho crafts a scene which skillfully weaves integral themes of social inequality, deception, and infiltration. Overtonal Montage The Overtonal Montage is a sort of amalgamation of the four other types of montages: Intellectual, Metric, Rhythmic and Tona Establishes pace Keeps to the pace Evokes an emotional response Exaggerates the emotional response through supporting and contrasting images. What is the Kuleshov Effect? The Kuleshov Effect is a film editing effect invented by Soviet filmmaker, Lev Kuleshov. It is a mental phenomenon where the audience derives more meaning from the interaction of two back-to-back shots than from one shot in isolation. The Kuleshov Effect basically covers reactions juxtaposed against what they are reacting to. REACTION SHOT DEFINITION What is a reaction shot? A reaction shot is a cutaway shot of a person's response to an event or to a statement made by another. SERGEI EISENSTEIN MONTAGE FILM EXAMPLES) Popular Soviet Montage Films Kino-Eye (1924) Battleship Potemkin (1925) The Death Ray (1925) Mother (1926) Zvenigora (1927) October: Ten Days That Shook the World (1928) Man With a Movie Camera (1929) A Simple Case (1932)

2. German Expressionism (1919-1926)

https://www.youtube.com/watch?v=K6XDyth0qxc https://www.youtube.com/watch?v=EHGla_N7LDE PERIOD By 1912, film was still commonly disputed as a legitimate artform with many theatre professionals boycotting the industry entirely In 1916, the German government decided to ban all foreign films. with many theatre professionals boycotting the industry entirely since the beginning of WWI, and themes of violence, cruelty and betrayal become more relevant topics for discussion. There was a constant fear of hyperinflation. one of the most recognisable styles of silent cinema The movement expressed inner turmoils, fears and desires of that era. German Expressionism is an artistic mode that first appeared in poetry and the visual arts at the beginning of the 20th century, before moving into fields such as theatre, architecture and cinema following the First World War. Offering a subjective representation of the world, Expressionism descends partly from German Romanticism and reveals the angst of its human figures through their distorted, nightmarish surroundings. In cinema it is most particularly associated with tilting, impossible sets, high angles and deep shadows.Expressionism reflects the inner conflicts of its 1920s German audience by giving their woes an inescapably external presence. By rejecting cinematic realism, expressionist films showcase dramatic, revolutionary interpretations of the human condition. German Expressionism Portrays a Subjective, Emotional World Rather Than An ObjectiveReality German Expressionism is an artistic genre that originated in Europe in the 1920s, and is broadly defined as the rejection of Western conventions, and the depiction of reality that is widely distorted for emotional effect. Heavily influenced by artists such as Vincent van Gogh, Edvard Munch, and El Greco, Expressionists were less concerned with producing aesthetically pleasing compositions as they were with creating powerful reactions to their work through the use of bright, clashing colors, flat shapes, and jagged brushstrokes. In its nature, the movement was interested in the relationship between art and society, and encompassed a broad range of fields, including architecture, painting, and film. Expressionist films were initially born out of Germany's relative isolation during the 1910s, and quickly generated high demand due to the government's ban on foreign films. The films' appeal soon spread to an international audience, and by the early 1920s, many European filmmakers had begun experimenting with the absurd and wild aesthetics of German cinema. Two of the most influential films of the era were Metropolis (1927), by Fritz Lang (Austrian, 1877-1961), and The Cabinet of Dr. Caligari (1920), by Robert Wiene (German, 1873-1938). Similar to Expressionist paintings, Expressionist films sought to convey the inner, subjective experience of its subjects. hen countries are at war, every industry within them is also under attack. Or at the very least, is vulnerable to change. After WW1, German films became stranger and quite a bit darker. The control of the government banning foreign films also aided to their isolation. From there, German Expressionism was born. But what is German Expressionism in film? Let's find out. German Expressionism is a particular artistic style that first appeared in poetry and theatre around 1910. It became popular in film 10 years later after WWI. It comes partly from German Romanticism and gives a subjective view of the world. It visualizes the country's collective anxiety through distorted and nightmarish imagery. Expressionists had little interest in their work being aesthetically pleasing. This style flourished after the horrors of WWI, and the inevitable economic devastation that followed. The first few films that can be described as pure German Expressionism include The Cabinet of Dr. Caligari and Metropolis. Characteristics of German Expressionism High angles Deep shadows/chiaroscuro lighting Extreme camera tilting Impossible sets German Expressionism in film is associated with high contrasts of darks and lights to convey nightmarish sets, often using the chiaroscuro lighting technique. Let's look at some of the classic examples that cemented this aesthetic steeped in shadows. ex)Metropolis Nosferatu The Cabinet of Dr. Caligari (1920) From Morn to Midnight (1920) The Golem: How He Came into the World (1920) Warning Shadows (1923) The Hands of Orlac (1924) Waxworks (1924) The Student of Prague (1926) Nerves (1919) Nerven - by director Robert Reinert Opium (1920) by director Robert Reinert Power (1920) Algol - Tragödie der Macht - by director Hans Werckmeister The Cabinet of Dr. Caligari (1920) Das Cabinet des Dr. Caligari - by director Robert Wiene From Morn to Midnight (1920) Von morgens bis mitternachts - by director Karl Heinz Martin Genuine (1920) Genuine, die Tragödie eines seltsamen Hauses - by director Robert Wiene The Golem (1920) Der Golem, wie er in die Welt kam - by directors Carl Boese & Paul Wegener

1. French Impressionism (1918-1930)

https://www.youtube.com/watch?v=vsnB4iBb78o&list=PL8dPuuaLjXtN-Bd-H_TGq72CN50Fpv_JX&t=0s https://www.youtube.com/watch?v=vsnB4iBb78o&list=PL8dPuuaLjXtN-Bd-H_TGq72CN50Fpv_JX&index=2 https://www.youtube.com/watch?v=pKSmcmueTbA&list=PL8dPuuaLjXtN-Bd-H_TGq72CN50Fpv_JX&index=3 https://www.youtube.com/watch?v=aFkSjdaqbyE&list=PL8dPuuaLjXtN-Bd-H_TGq72CN50Fpv_JX&index=4 https://www.youtube.com/watch?v=L8is28gAOTc&list=PL8dPuuaLjXtN-Bd-H_TGq72CN50Fpv_JX&index=5 https://www.youtube.com/watch?v=V7ZHd1xU2w8&list=PL8dPuuaLjXtN-Bd-H_TGq72CN50Fpv_JX&index=6 https://www.youtube.com/watch?v=HaBmjhmKWTs&list=PL8dPuuaLjXtN-Bd-H_TGq72CN50Fpv_JX&index=7 PERIOD - post war france movement inspired by increasing dominance of American cinema being released in France after WWI -Impressionist thinks that cinema is giving audience an opportunity to explore things that are far beyond the reality. they believe in visual rhythm(emotions not stories) -Mobile framing that is used in French Impressionist film shows the point of view of the characters. As French Impressionist film emphasizes the thinking or feeling of character, the frames usually changes all the time by varying the camera height, camera angle and camera distance, to show from the angle of the character. Besides that, the camera movement of French Impressionist film is smooth. -Focusing is also one of the characteristics. There are scenes when the lens is thrown out of focus to show subjectivity. There are also scenes when the camera slowly focuses on the character's expression by using close up shot. This is to show the character's feeling in great detail. -Also, to suggest the subjectivity, filters and distorting lenses are used. A filter is placed on the lens to achieve a subjective effect, and distorting shots are established such as a shot into a curved mirror or shooting from an oblique angle to show dizziness. Distorted or filtered shots or camera movements are used to show the scene of characters who are drunk or feeling dizzy. For example, in El Dorado (1920), a man is drinking and the tipsiness is conveyed through a curved mirror. -In French Impressionist film, the cinematography and editing is used to show the characters' personal experience and optical impressions. The film interest falls on inner action instead of external physical behavior. The film normally uses the superimpositions to show a character's thoughts or feelingsThis technique is used by dissolving two visuals cutting cross each other in a scene. The length of shots and attentive juxtaposition of the movements within the shots produces rhythm - By precisely applying visual rhythm in film, it can creates flows and enables visuals to narrate themselves so that audience can understand the emotions. -the french were the first to start experimenting with film "French impressionist cinema" also referred to as the first avant-garde or narrative avant-garde is a term applied to a group of French films and filmmakers working from 1918-1929 French impressionist cinema prefers to using closer up and the single light to film a character and show her emotions. By this way, audiences can feel and share the same emotions as the character. EXAMPLES Napoléon. The Smiling Madame Beudet (1923) La souriante Madame Beude - by director Germaine Dulac The Wheel (1923) La roue - by director Abel Gance The Faithful Heart (1923) Coeur fidèle - by director Jean Epstein Don Juan et Faust (1923) - by director Marcel L'Herbier Crainquebille (1923) - by director Jacques Feyder The Little Kid (1923) Gossette - by director Germaine Dulac