” Alexandre Astruc In 1948 Alexandre Astruc wrote an article “The birth of a new Avant-Garde: Le Camera Stylo”, in which he expressed the future of cinema will adopt a more personal touch from the film maker, in that, he/ she will “express his thoughts no matter how abstract they can be“ through cinematic language. This gives directors now the opportunity for them to reflect their own style in the way the film is shot, and it also gives them a chance to express any views or thoughts they may have on society and even on life. This type of film making which conventions are the antitheses to mainstream Hollywood cinema, would be called ‘New Wave Cinema’. In this essay I will compare and contrast the stylistic qualities of these new waves films (narrative structure, cinematography, and editing), made 40 years from each other and see how the director has made the film personal to him and what comment on society is making. Breathless (1960) by Jean Luc Godard is the most revolutionary movie of the French New Wave movement.
It means that camera is pen and the director is the author of the film. Film itself is an expression. Film is not just entertainments; it is the thoughts of director, although it is abstract. The films are unique and there are significant and character in the films. Moreover, Francois Truffaut emphasized on mise-en-scene of a film.
The Cycle of Masculinity in the Cinema: The Male Hero at a Glance | Print | E-mail Written by Alexandra Trottier Thursday, 31 January 2008 19:00 What ever happened to good old-fashioned James Bond? Ever since Woody Allen introduced the world to a new breed of masculinity in the 1970s, the portrayal of men in the cinema has been engaged in an ever-persistent battle between two distinct forms of the male persona. While traditionally the authoritative male has dominated film narratives, the introduction of Allen’s neuroticMidnight Cowboy from 1969, or Donald Shebib’s 1970 Canadian classic Goin’ Down the Road.) These films came to represent the real vulnerability experienced by the everyday man, forced to contend with a loss of identity after second- wave feminism displaced the conventional gender roles. man displaced the classic structure of masculinity by replacing aggression with emotion, intellectualism with irrationality, virility with insecurity, and strength with imperfection.
In the 1920s structured order meant filmmakers followed an unwritten set of rules that determined plots, protagonists and the genre of successful films. Vertov was part of a movement called the Kinoks who challenged original cinematic techniques that the extremely controlled cinema industry followed. The Man with the Movie Camera is a perfect example of a film that has broken free of conventions and challenged the walls of cinema. This essay will analyse the use of editing in creating meaning and how important it is. As well as assessing Vertov’s beliefs and drive to make such a film.
Editing Essay. Discuss in detail how editing styles and techniques (both conventional and unconventional) contribute to the storytelling in a feature film of your choice. The film I have chosen to do this essay on is ‘Good Will Hunting’. This film was directed by Gus Van Sant, starring Matt Damon, Robin Williams and Ben Affleck. The first scene I am going to look at is the scene in which Will Hunting, played by Matt Damon, explains why he does not want to work for the NSA.
What cinematic techniques are used to create sympathy for the death of Michael Sullivan? Director: Sam Mendes Genre: Drama | Detective | Mystery The movie Road to Perdition is an adaption from the graphic novel written by Max Allan Collins, Richard Piers Rayner. Sam Mendes incorporates a range of cinematic techniques in the final chapter of the film in order for the audience to feel sympathy for Michael Sullivan (played Tom Hanks) One of the main features he uses is sound. Sound is used extensively in filmmaking to enhance presentation, and is distinguished into diegetic and non-diegetic sound. In this scene, when Michael is looking from the window balcony at his son Michael JR (who is outside playing with the dog on the beach) we only hear the sound of the waves (contrapuntal sound) as the audience, we recognize this particular sound and we expect something bad to happen, this makes the scene more intense.
How does the theory and practice of montage cinema as seen in Eisenstein and Vertov differ from mainstream cinema of the same period? Discuss with reference to critical material and any film examples you want to use. You need to remember to include the theory in this essay to help ground a compare and contrast-type answer Eisenstein,s beyond the Stars: The Memoirs of Sergei Eisenstein,ed.Richard Taylor,trans.William Powell. British Film Institute: London In the first of my film,Strike,I wanted to take the terror of the finale to a high point. The most horrible thing in the representation of blood is blood itself.
Classical and Post-Classical Hollywood Cinema INTRODUCTION During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
A film following a protagonist from party to party among the rich is practically a slap in the face to the neo-realist movement. It was often said that “Nights of Cabiria” marked the conclusion of the first phase of Fellini’s career in neo-realism and “La Dolce Vita”, the beginning of the next. It is my preference to see his films in a continuous visual timeline so that I can visualize Fellini’s artistic growth. Both “La Dolce Vita” and “Nights of Cabiria” unfold in an episodic manner. However, “Nights of Cabiria” has a stricter and more traditional narrative structure, while “La Dolce Vita” is basically a series of short films.
Film Theory debates the essence of cinematic value and provides conceptual frameworks for understanding a film’s relationship to reality, the other arts, individual viewers, and society at large. In order to successfully approach film criticism it is important to examine several theories. It is important to keep in mind that, “no critical approach can tell us everything about a film but, rather, different approaches can teach us different things about a film” (Luhr, Lehman 80). First and foremost, films are perceived in terms of their narrative structure. When discussing a film, audiences will recall its story line or characters to exemplify what the film was about.