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Film Theory Week 8

by: Abi Sommers

Film Theory Week 8 CTCS 473

Abi Sommers

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About this Document

Week 8: New Hollywood Auteurism, French New Wave, Directors of Cinema, Shoot the Piano Player
Film Theories
Jon Wagner
Class Notes
Film, Theory, Director, auteur, hollywood, french, Cinema
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This 2 page Class Notes was uploaded by Abi Sommers on Monday October 17, 2016. The Class Notes belongs to CTCS 473 at University of Southern California taught by Jon Wagner in Fall 2016. Since its upload, it has received 3 views.


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Date Created: 10/17/16
10/10 Genre: - Deep fundamental conflicts in being an American continue to happen, only momentarily distracted by genre. - Conflicts and differences of culture are submitted to apparent resolution but conflict renews - Brody reiterates that the genre is massively powerful, not lesser than art cinema - Continuing popularity of genre attest to fact that problems genre continues to tackle are consistently relevant - Over time becomes more difficult for genre to unify national vision Peckinpah (Pat Garrett and Billy the Kid) - Demythologized the genre and mythologized it - Self reflectively show loss of the western and loss of american spirit - Flat, hard bitten landscape, poverty, not epic grandeur of the classical western - Even classic gunfighting and fist fighting replaced by random and inexplicable violence - An anarchy in play, a celebration in anarchy but deeply traditional, reverential about the west and heartbroken about what has passed, a possibility of grandeur that seems to have been lost How director became essence of cinema - John Ford became so powerful was known as auteur even when studio system made it impossible, maintained individuality during homogenization of studio age - Bazan and Kraquar suspicion of auteur- director needs to be master of mis en scene. Not director’s job to create meaning. - Physical reality is already meaningful and important. Realist director gained respect by recognizing what was already meaningful, bringing spectator back to understanding of the world. - Eisenstein and Pudovkin as (expressionist) directors, director’s vision is all powerful - French Avant Garde, director had same control over film as painter - Interested in critique of representation - Individual is in charge of referring reality to argument that cinema should be representational - Auteur always seen as a threat to studio control and audience reception - New Hollywood, Auteurism - comes into full being and cinema announces itself as the way we inhabit reality. - When cinema declares its independence, serving no art but its own, auteur gains power. - Hollywood cinema - desire is reality ( realism- real is real formalism- vision is real) - Hollywood says cinema should fulfill cinema and desire ( enforced by audience reviews and studios profit country) cinema is its own cause, director/auteur is the icon of the Declaration of Independence - Truffaut - there are no bad films, only bad directors. There is no such thing as a good adaption, cinema owes nothing to a book or other form, it is purely for its own sake. - cinema’s independence displayed in the way it begins to display a pure power, self reflexivity , it's own genres. Truffaut - “ the politics of the author” demonstrated in self reflexivity and exhibitionism. -by 1959 explosion of new wave filmmaking. - new wave critics borrowed and independently financed films entirely outside support of studios. - 400 Blows wins at Cannes, finally individual vision and high art recognized. New Wave - -new wave films largely shot on location,as way of rejecting the studios and embracing cheap independence. Many similarities with realist shooting but for different purposes. -to have personal control - new wave highly influenced by new developments in camera technology and television. Tv brings with it array of technologies and acting. -new wave doesn't last very long in pure form (1959-1963) experiments in cinema genre , directed toward self reflexive appreciation of cinematic independence. Praise cinema as the highest of all arts. Cinema is its own reality -after war America flooded Europe with American films -new wave sought to create a new wave of audiences. Cinema as an instruction guide to how to be fully aware and passionate, to refine sensibilities through cinema to help live Iives as artists no matter who we are. Spectator became kind of auteur and feature of cinema -cinema a way post war France could move toward more democratic culture. Cinema as a way or renewing national pride. Shoot the piano player - used full range of stylistic possibilities to play with classical genre, a gangster film - An experiment at how the genre can respect personal vision and throw off the shackles of formula. - Changes in mood in film are self reflective.


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