Free Cinema Flashcards
The Free Cinema movement launched in London’s National Film Theatre in ______ built on the concept of the personal documentary, and called for a cinema that would allow directors to express through film their deeper commitment to personally held views.
1956.
Citing admiration for the work of Georges Fanjou it included among its key proponents Lindsey Anderson, John Fletcher, Karel Reisz and Tony _________, most of whom became key directors of feature film production in the British Social Realism movement (kitchen sink dramas) of the late 1950s/early 1960s, and made some of the films that were at the heart of ‘Swinging Britain’ throughout the 1960s.
Richardson.
While launched in 1956, the movement included earlier films by the filmmakers reaching back to O Dreamland (UK, 1953, Dir: Lindsey _________) about the popular culture of an amusement park.
Anderson.
At the heart of this movement was the position of the filmmaker not as social commentator, but rather as ________.
Observer.
They did not promote a __________ view, but rather left meaning to the conclusions of the spectator, and in doing so freed themselves to look at contentious subjects.
Universal.
In Britain, Free Cinema was supported in part by the Britain Film ________ (through its Experimental Film Fund), and as the filmmakers were not having to work under the restrictions usually imposed by the commercial sector, they also had the freedom to work in ways and using techniques that were outside the conventions of the industry at the time.
Institute.
Two films of the time stand out above the others – Every Day Except Christmas (Graphic Films, UK, 1957, Dir: Lindsey Anderson), and We are the ________ Boys (Graphic Films, UK, 1959, Dir: Karel Reisz) – as key examples of what Free Cinema was about.
Lambeth.
Through their observation, in both cases a clear sense of community, unity and social ______ emerges, and of course (from contemporary perspective) they offer a view on a way of life that has either vanished or has evolved out of recognition.
Identity.
One of the strengths of the movement is the use of sound to structure and amplify the images, and the experimentation in sound design for the non-fiction film echoes back to the work of Alberto ________ in the 1930s.
Cavalcanti.
Citing admiration for the work of Georges Fanjou it included among its key proponents Lindsey Anderson, John Fletcher, Karel _______ and Tony Richardson, most of whom became key directors of feature film production in the British Social Realism movement (kitchen sink dramas) of the late 1950s/early 1960s, and made some of the films that were at the heart of ‘Swinging Britain’ throughout the 1960s.
Reisz.
