Post War Cinema And Modernity Summary
Post-war Cinema and Modernity tries to understand the relationship between context of modernity and films in the later half of the last century. Its important literary feature is its emulation on the close connections between textual criticism, history and theory.
On Film Theory and Film Form, The first section of the book contains the theoretical aspect of the cinema-making. New after-war film narrative dimensions have been criticized by Bazin and Telott, while innovations in cinema of the 1960s and the question of modernism has been responded by Metz and Birch. Changes in film technology and cinematic perception are discussed in the essays by Virilio, Wollen, Aumont and Bukatman, documentary in the film-making has been extended to be discussed.
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film theory and film form has been described in different essays, each containing its own unique style, language and depth. Diverse topics that enrich the readers include Time and the Image, Subjectivity and Perception, Film and Narrativity, Representation and Reflexivity, Film and Painting, Gender and Identity. Research study over individual directors of the likes of Welles, Antonioni, Rocher, Sembene, Greenaway and Egoyan acquaint us with their unique and innovative style of film-making and profoundness of their …show more content…
Thinkers like Metz, Pasolini, Bazin, Sontag and filmmakers like Godard, Tarkovsky, Bergman, Angelopoulos etc has tried to enrich us with their influential creativity. Researching and unbiased readings of films ranging from Tania modleski’s femininity by design: vertigo, Ismail xavier’s Black god, White devil; Laura mulvey’s Xala etc has been discussed extensively.
Central to Post-War Cinema and Modernity, Pasolini’s “The Cinema of Poetry” cropped up in Orr’s 1998 collectionContemporary Cinema (EUP). Post-War Cinema and Modernity feels as though it is built around it. Substituting objective realism, whether the reality effect of Hollywood or the apparent facticity of Neo-Realism, with the skewered and neurotic subjectivity of the protagonist, such directors as Antonioni and Godard introduced world-views that would in time become the benchmarks of high
Gender Roles In 1950s And 1990s: Roman Holiday And French Kiss
3780 Words | 16 PagesThe concentration is on comparing and finding the changes that history made to this movie genre, especially considering the gender roles. Results will clearly explain the psyche of society in two different periods, which confirms that people reflect the movies as movies have an impact on people. The Introduction It is often said that the element of surprise makes the movie more interesting and leads the plot. There are many masters of storytelling
Cinematic Techniques In Anthony Burgess A Clockwork Orange
1712 Words | 7 PagesThis sense of hostility springs forth from the misconstrued view of literature being the superior art form among the two, extending to the apparent artistic inferiority of cinematic adaptations, which seemingly “betrays” its source material. But the idea of cinema as a potent and dynamic art
Film Techniques In The Crucible
866 Words | 4 PagesThey effectively presented this idea through the use of various film techniques such as lighting, music/sound, and camera angles/shot selection. The film adaptation is both effective in its delivery of the message but also in its maintaining of the original essence of the
The French New Wave: A Film Movement In The 1960's
1712 Words | 7 PagesThey experimented with various editing and visual styles and techniques similar to that of the Italian Neo-realists By the late 1950’s the new wave directors had gained enough acclaim to move up to feature films. Elements of the French New Wave have been absorbed by the modern film industry and many unique styles and techniques are still present today. However, the New Wave did more than just contribute some new film techniques. The French New Wave created a societally and intellectually engaged cinema experience. The status of films became prestigious in a sense that they could spark political and social engagement and debate.
Essay On Film Noir
935 Words | 4 PagesEvery now and then the art world is struck by a wave of change that leaves a strong impression, which can last for a long time. Visual arts saw the rise of impressionism and cubism, surrealism and realism took literature to an opposite direction, and film has evolved over the years through cultural and artistic development such as expressionism, auteurism and film noir (House, p.61). The 1940s and post World War II gave rise to a new style of American film, these films appeared pessimistic and dark in mood, theme, and subject. The world created within these films were portrayed as corrupt, hopeless, lacked human sympathy, and “a world where women with a past and men with no future spent eternal nights in one-room walk-ups surrounded by the
A Man With A Movie Camera Analysis
2638 Words | 11 PagesThis essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument. A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday
German Expressionism In Weimar Cinema
1068 Words | 5 PagesOver the fifteen weeks of the first semester of film school, we were taught many interesting types and styles of early world cinema which were extremely informative and influenced the filmmaking style of the whole class and made us better filmmakers instantly. One such ‘ism’ which inspired me the most was German Expressionism which is a unique characteristic of Weimar Cinema. In this essay I am going to talk about the history of this ‘ism’, its impact on cinema, some significant works and how it inspired me and influenced my filmmaking style. German Expressionism is one of the earliest artistic genres to influence filmmaking, and one that ostensibly prepared for some other cutting edge artistic styles and techniques. It is an artistic genre
New Latin American Cinema Analysis
1617 Words | 7 PagesAmong many advocacies contributed to on-going and loosely constituted film movement “New Latin American Cinema” starts from 1960s, the manifesto “Third Cinema” highlighted certain significant traits of film in Latin America. The word “third” does not necessarily refer to the Third World, yet it suggests a particular response to the first and second cinema, namely the mainstream industrial production in Hollywood and European auteur film respectively. These cultural hegemonic countries, such as United States, United Kingdom and France, are also the imperialist enforced neo-colonialism to Latin American countries. In conjunction with the struggle for national and continental autonomy in Latin America, filmmakers endeavour to liberate people from
Aesthetic Of Astonishment Analysis
1441 Words | 6 PagesIn “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and
Wizard Of Oz Genre Analysis
2800 Words | 12 PagesOver the past century, film has served as a powerful means of communication to a global audience and has become a vital part of the contemporary culture in a world that is increasingly saturated by visual content. Due to the immediacy and the all-encompassing nature of film, the process of watching a film, is widely perceived to be a passive activity by the general masses. However, quoting Smith in his article about the study of film, “nothing could be further from the truth.” The study and understanding of film as an art form enhances the way we watch and appreciate films. It requires the audience's active participation and interaction with the film in order to fully comprehend the directors' intention behind every creative decision.
The Ontology Of The Photographic Image Analysis
1223 Words | 5 PagesFilm takes photography to another level. Film, or the cinema “is objectivity in time.” For the first time with film “the image of things is likewise the image of their duration, change mummified as it were”. Bazin argues "only the impassive lens, stripping its object of all those ways of seeing it, those piled- up preconceptions, that spiritual dust and grime with which my eyes have covered it, are able to present it in all its virginal purity to my attention and consequently to my love.
Baz Luhrmann's Red Curtain Trilogy Film Analysis
976 Words | 4 PagesBaz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
Rashomon And Citizen Kane Analysis
2098 Words | 9 PagesTwo films, although created years apart yet have a lot in common, including their content of it’s narrative techniques. Both films, even though black and white with strokes of genius of cinema offer a vast stretch for study. I will be looking at Sir Orson Welles “Citizen Kane” (1941) and Akira Kurosawa’s “Rashomon” (1950). We see in Citizen Kane he values for the American life. The three abstract themes that constantly follow through Citizen Kane are Wealth, Power and Love.
Essay On Italian Cinema
885 Words | 4 PagesThe film Quo Vadis done by Enrico Guazzone was the earliest big successful movie in cinema history. Movies such as Cabiria, by Gio Pastrone, was also one of the biggest productions, taking two years of a lifetime to produce. Italy was home to the Futurists, and to these people, such as famous Filippo Marionetti, cinema was an ideal art form, being a subject of artistic changes and work like for example special effects, editing, manipulation of speed. The years following WW1, the Italian cinema fought against the rise of foreign competition which led to the unification of the Italian cinema organisations as a strategy for a bigger film production and market, but unfortunately, this unification wasn’t
Importance Of Auteur Theory
2424 Words | 10 PagesThroughout the years, the auteur theory slowly ensconced itself as an essential key to film analysis, providing a specific guideline to evaluate a director’s film. One of the most
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