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Film&Media History (2)

by: Heidi Hilts

Film&Media History (2) FMS 2023

Marketplace > University of Oklahoma > Film > FMS 2023 > Film Media History 2
Heidi Hilts
GPA 3.0

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About this Document

Notes from week 2
Film and Media History: 1960 - present
Caetlin Benson-Allott
Class Notes
Film, film history
25 ?




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This 3 page Class Notes was uploaded by Heidi Hilts on Sunday March 6, 2016. The Class Notes belongs to FMS 2023 at University of Oklahoma taught by Caetlin Benson-Allott in Winter 2016. Since its upload, it has received 33 views. For similar materials see Film and Media History: 1960 - present in Film at University of Oklahoma.


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Date Created: 03/06/16
Film and Media History 1960-present 1/26/16 La nouvelle vague The French New Wave  A subcategory of European Art Cinema  1960s European Art Cinema was an international reaction against the classical Hollywood cinema  The French New Wave was also a reaction against the “tradition of quality in French film or ‘cinema du papa’” (Dad’s cinema) in the words of Francois Truffaut  The French New Wave began as a critical position with the critics-cum-filmmakers associated with the journal Cahiers du cinema o Founded in 1951 by Andre Bazin et al. o Drew membership and readership from Parisian film clubs o Published articles by Francois Truffaut, Jean-Luc Goddard, Jacques Kirette, Claude Chabrol, and Eric Rohmer – all of whom went on to become filmmakers o Iconoclastic approach to film appreciation and film theory o Cahiers du cinema –where a generation of critics became filmmakers and changed the world o Saw cinema as a means of expression for individual artists o Put forth their position as a manifesto in Francois Truffauts article “Le politique des auteus” 1954 o Championed directors like Alfred Hitchcock, Howard Hawks, Jean Renoir as the “authors” of their films o New Wave directors later made film that expressed this vision  Auteur Theory o “Notes on Auteur Theory in 1962” Andrew Sarris  A way of evaluating and understanding movies – not a theory of film production  “Auteur theory was merely a polemical weapon for a given time and a given place”  “The first premise of auteur theory is the technical competence of a director as a criterion of value”  “The second premise of the auteur theory is the distinguishable personality of the director”  “The third and ultimate premise of the auteur theory is concerned with interior meaning, the ultimate glory of the cinema as art”  Interior meaning – beyond the plot o Truffaut’s theory of the auteur’s personal style in action o Benefitted from recent technical developments like faster film stock and more portable equipment o A casual approach to the “rules” of mainstream cinema, a freer editing style, and loosely constructed scenarios  The Left Bank Group o Cleo de 5 a 7 (Cleo from 5 to 7) (Agnes Varda, 1961) o Often included in the French New Wave but considered themselves (and were) more political, intellectual, and experimental o Alain Resnais, Chris Marker, and Agnes Varda o The New Wave did not explicitly challenge representation of women or think about cinema’s relationship to documentary - the Left Bank Group did  Documentary allegedly presented in real time (it isn’t)  Addresses French-Algerian war as well as the status of women  May ’68 and the French New Wave o Reaction against Charles de Gualle conservative government o Strikes by students and blue-collar workers lead and civil unrest  More than 22% of French citizens participated o A call for both social revolution and better working conditions  An idealistic but uneasy union o Radicalizes the French New Wave o Leads to the formation of over nineteen communist filmmaking collectives o Cahiers du cinema becomes overly political o Shift from politique des auteurs to considering the political impact of cinema, both as a tool of and a response to dominant ideology 1/28/16 Breathless  Bonnie and Clyde references Breathless o They both spot a girl randomly in the streets o Stealing lots of different cars o Being in a police chase and losing them by driving off the road o Jump cuts o Actors even look similar o Women question men/relationships and men don’t o Handheld cameras in cars o Broken glasses  Breathless rethinks American gangster movie o Plotting and rhythm o Driven by emotion and conversation not action o Embraces boring and by doing so by trying to be funny o Less causal, looser order of events o Characterization  Not typical realist portrayals of psychological motivation and credible emotions  Goddard trying to make us aware that characters are just actors  Interior Meaning o Tension between director’s personality (auteur’s signature) and his material o Long takes o Long takes broken up by jumpcuts o Location shooting o Reflection on and of existential themes o Self awareness (metacinema) o Each individual must make meaning in and of the world o Existence precedes essence o Threat of despair o Basic value freedom  Basic virtue: authenticity and personal responsibility o Existentialism  Sartre  Simone de Beauvoir  Breathless was the sort of thing where everything goes; that was what it was all about o Question everything o Independence o Absolute freedom o Anything goes o Quest for identity  Humphrey Bogart nervous tick o Mimicking and identity  We comprise our identity on our views of others  How we exist in the eyes of the other  Metacinema reminds you that you’re watching a movie o Break 4 wall o Jumpcuts  French New Wave/ Breathless are a reaction to American dominance in ideology and culture o Identity – let them know what we think about ourselves o Mirror stage – idealized version and desire to become ideal o Lacanian film critique o Interior meaning and humor in Breathless  This is how the movie is supposed to end, but I’m not going to do it right (Goddard)  Break ubiquitous American expectations


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