7. Film Final: European Art Cinema AND French New Wave AND WWII National Film Movements
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26 terms
Terms | Definitions |
|---|---|
 European Art Cinema | the overall film movement encompassing Italian Neo-Realism and French New Wave, among other movements. had own style of production: umbrella (vs assemblyline US style) |
| Characteristics of European Art Cinema | Original Ideas, dealing with psychological problems. Dealt with philosophical questions. Has an individual look. Auteur-motivated. Anti-classic hollywood cinema. Stories are motivated by realism and authorial expressiviness. Characters lack defined goals. Reaction and response is to the situations. (moment by moment) |
| How did European Art Cinema set itself apart from Hollywood? | it was considered anti-classic hollywood cinema with complex characters, realism, characters lacked defined goals, and react to situations as they happen, less narrative closure, and authorial expressivity |
| auteur motivated | director of film just like the author of a novel, imprinting his or her own stamp on the film |
| How did European Art Cinema develop storylines? | by avoiding genre films and referencing literature |
| Characteristics of French New Wave | Influenced by avante-garde poetic realism and film noir. Right-bank and left-bank directors contributed their own styles: right- human dramas, character stories, unlikeable main character. Left-documentaries and political films. |
| when did french new wave pop up? | 1950-1960's right after italian neo-realism |
| new wave | not originally used to describe this type of film, was originally used to define type of french citizen. correlated with a growth in population that occured when men returned from the war to start families 'little boom'. some local magazine called 'Express' to learn about the new generation, and the term 'new wave' was coined. phrase was propagated by 'Cahiers du Cinema' |
| Cahiers du Cinema critics | andre bazin, francois truffaunt, Jean-Luc Godard |
| How did new wave film come about? | cahiers du cinema critics became filmmakers, making movies that reflected 'new wave' ideologies. |
| What were the french new wave filmmakers influenced by? | avante garde (of 1920s), poetic realism (film movement of france in 30's), U.S. Filmmakers (40's/50's) like film noir artists. |
| What were the two camps the french new wave filmmakers split up into? | right bank directors, left bank directors |
| Why were the french new wave directors named right bank and left bank? | paris was split into two halves by a river (seine?). the right bank involved more government and conservative upper class views. the left bank involved artistic and intellectual views. |
| right bank directors | Godard, Truffaut, Chatoral, more interested in characters and the stories told. human drama on a small scale, ie. Breathless by Godard. |
| 'Breathless' by Godard | monogram picture - a B movie in the U.S. based on film noir. this film dedicated to monogram. had an unlikeable main character |
| left bank directors | Varda, Resnais, Mancer, formally trained/schooled. made documentaries and political films, often experimental |
| example of a left-bank french new wave film | 'Night & Fog' (1955) by Resnais |
| Night & Fog (1955) Resnais | left bank french new wave film commissioned by the government. footage was filmed inside concentration camps of Nazi Germany by soldiers and Nazis. The French Gov't got this footage, and wanted Resnais to make a film commemorating Holocaust. he used the archival footage from the war and his own footage filmed afterward, edited together, and recorded a voiceover narration. |
| How did Resnais feel about making Night & Fog? | he said he had no personal experience with the holocaust and that it was offensive for him to try to express what he didn't know. he teamed up with jean cayrol, a holocaust survivor and poet, and his poetry is featured throughout the film. |
| jump cut | filmstock laid out on table. a specific segment is cut out, creating a jump in time & space. ie. driving sequence in Breathless when the scene cuts to a bus further down the road |
| What did the period after WWII do for film? | Post war period encouraged personality & individuality in cinema |
| What aspects affected the development of films after WWII? | Changing audience & technology, American film industry in artistic and financial trouble, Foreign goverments support filmmaking, Foreign filmmaking becomes a model for american movies by late 1960'sWhat is an example of a Post WWII National Film movement? [New New Wave-New stories and films will look visually different. |
| What's an example of a New New Wave Film? | Lahaine (Hate) 1995- Natie Kassovitz |
| Lahaine (Hate) 1995- Natie Kassovitz | (french spike lee) tells the story about french ghettos. Ghettos in Paris are suburbs outside the cities that were built for 'guestworkers' who had been invited to work in factories after WWII. The industry died, and those families lost their jobs. Families still live there today in un-updated conditions. People with university degrees couldn't get jobs because they had addresses in these ghettos.] |
| What is another name for the type of film Lahaine is? | Banueue Film - Ghetto Films modelled after American New Ghetto Centric films like New Jack City and Boys in da Hood. |
| France is the #2 producer and consumer of | hip hop tracks in the world. |
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