Final 1 Flashcards
4 main films from 1960 and what they have in common
L’avventura, Psycho, Breathless, Black Sunday
common: modern cinema, diversity and internationalism, multiple narratives/traditions/themes
1960 marked disappearance of the…?
cannon
The moment image vs. The time image
the moment image (pre WWII)
-cinema of the agent, action driven, segmented time, cause effect, closure, goal oriented, clear motives
the time image (post WWII)
-character driven, time is subjective, no cause-effect, no clear goals, cinema of the seer, about flow
both theories by Gilles Deleuze
Michelangelo Antonioni
director who started as film critic/screenwriter
first film: Gentle de Poe
^neorealist, open ended, weather/landscape, unattached, long shots
did L’avventura
Alberto Moravia
auteur who wrote “boredom”
criticizes pre-WWII cinema and welcomes Antonioni
-says old film is not opposite of amusement, just lacks reality and does not convince audiences of legitimacy
Alfred Hitchcock
both types of auteur
personal films/independent, shows –> psycho –> shows/commercialized/worked w industry/celebrity/power
Mario Bava
auteur that was very prideful, disliked by many but very talented, distinct style
influenced Tim Burton/Tarentino
Auteur Theory
2 types:
author of a film, has control and personal aesthetic/expression
filmmaker’s works get revisited by later critics who find style/theme continuities
International Genres, change in cinemas
horror films became more violent and sexual, got more popular, took off internationally, new wave for horror
Hammer Films
key horror production, started mid 1950s, success due to higher production value, more sex/violence/gore, distribution deal with warner bros, international nature
Roots of Italian Popular Cinema (why it’s different than US studio system)
protectionist measures put in place by Italian gov –> taxes on dubbing foreign films/profits for foreign distribution reinvested in italy, tax reimbursements on domestic films –> fragmentally mode of production, not like
US, low budget, international, co-producers
French New Wave (influences, what is was)
very successful, short lasted but important movement
influences: theoretical, from film criticism instead of film making,
Alexandre Astruc on French New Wave
camera should be a pen, cinema about personal expression, very pro-auteurship, for lovers of cinema, art form
Cahiers du Cinema: 3 big names and what they did
Andre Bazen (writer) Francois Truffaut (the 400 blows, A tendency of French Cinema) Jean-Luc Godard (Breathless)
movies about movies, criticized old french filmmakers
3 main films of French New Wave
- the 400 blows (artistic yet clear)
- Hiroshima Mon Amour (historical love story)
- Breathless (best represents)
2 movements within French New Wave
the left bank new wave —– within new wave ——— new wave proper
Japanese New Wave (influences, what it was, qualities)
influenced by film industry (old tradition, vertically integrated) cultural context (youth culture, end of censorship, consequences of bomb)
new wave in japan targeted youth and resulted in more status/wealth/success, result of removal of censorship by end of 1950s
qualities: repetition, jump cuts, different stories with different outcomes, less coherent
Kaneto Shindo and 2 main films
director at margin of Japanese New Wave, older generation, worked as independent, used same crew, actors, techs
2 main films
Children of Hiroshima (not studio system, small, theme of the bomb)
Onibaba
3 important films from Japanese New Wave
Children of Hiroshima (not studio system film, small, bomb theme)
The face of another (identity, the bomb)
Death by hanging (issues of identity, individual guilt)
L’avventura and Persona (similarities)
open ended, de-centered narrative, ambiguous, form rather than story, personal, auteur, female psychology, self-reflexivity
