Film&Media History (2)
Film&Media History (2) FMS 2023
Popular in Film and Media History: 1960 - present
Popular in Film
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.
Reviews for Film&Media History (2)
Report this Material
What is Karma?
Karma is the currency of StudySoup.
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