Chapter 9: Cinema in an International Frame. The International Auteur Cinema ä Auteurism ä Film is an art ä The director as artist ä 1950s-1960s ä Emergence.

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Presentation transcript:

Chapter 9: Cinema in an International Frame

The International Auteur Cinema ä Auteurism ä Film is an art ä The director as artist ä 1950s-1960s ä Emergence of ‘art cinema’ centered on key international auteurs ä Michelangelo Antonioni ä Ingmar Bergman ä Luis Bunuel ä Federico Fellini ä Akira Kurosawa

Michelangelo Antonioni ä Theme of lovelessness and alienation among the middle and upper classes ä Images that offer precise visual statements of this theme ä The Trilogy: ä L’avventura ä La Notte ä L’eclisse

Ingmar Bergman ä Intense psychological focus on spiritual and emotional distress ä Close collaboration with cinematographers and stock company of actors ä The Seventh Seal and Wild Strawberries become classics of the art cinema ä The Trilogy: ä Through a Glass Darkly ä Winter Light ä The Silence

Luis Bunuel ä Film productions in Mexico, Spain, France, the U.S. ä Surealism ä Opposition to bourgeois morality ä Celebrating anarchy and impulse ä Un Chien Andalou – a classic of surrealist film ä Film style assaults cinema’s conventions of ä Time and space continuity ä Narrative logic

Federico Fellini ä Turns away from the Italian cinema’s tradition of realism ä Emphasizes spectacle, pageantry, and dreams ä Radically anti-realistic and theatrical style ä La Dolce Vita, 8 ½, Juliet of the Spirits, Amarcord

Akira Kurosawa ä Best known for samurai films ä A major influence on American films ä – period of peak artistry ä Filmmaking tied to Japan’s post-war recovery ä Style based on rare combination of elements ä Montage editing, camera movement ä The long take, static and motionless compositions

New Wave Filmmaking ä Film history is marked by periodic ‘new waves’ ä Alternative film styles centered on new generations of filmmakers ä Italian neo-realism (1940s) ä French New Wave (1950s-1960s) ä New German Cinema (1970s) ä Hong Kong Cinema (1980s)

Italian Neo-Realism ä Emerges in opposition to glossy studio filmmaking ä Aims to portray contemporary social conditions with focus on the lower classes ä Film technique would be simple, direct, unembellished ä Ossessione (1943) and Open City (1945) ä Tremendous influence and legacy ä Defines a fundamental approach to realism in cinema

The French New Wave ä Andre Bazin and Cahiers du Cinema ä Film criticism and film directing ä Francois Truffaut, “A Certain Tendency” ä Auteurism ä Debut year – 1959 ä The 400 Blows (Truffaut) ä Breathless (Godard) ä Hiroshima Mon Amour (Resnais) ä Location shooting, fluid editing, and cinematic self-consciousness

New German Cinema ä 1962 Oberhausen manifesto ä Call to redefine German cinema and break with existing traditions ä State funding of film production stimulates emergence of new auteurs ä Fassbinder and Hollywood melodrama ä Herzog and the mystical tradition ä Wenders and anti-narrative

Hong Kong Cinema ä Tied to national anxieties about reunification with China ä Robust national cinema resists Hollywood influences ä John Woo ä Hyperviolence and cultural apocalypse ä Tsui Hark ä Synthesis of martial arts, costume and ghost genres