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Film&Media History (3)

by: Heidi Hilts

Film&Media History (3) FMS 2023

Marketplace > University of Oklahoma > Film > FMS 2023 > Film Media History 3
Heidi Hilts
GPA 3.0

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Notes for week 3
Film and Media History: 1960 - present
Caetlin Benson-Allott
Class Notes
Film, Media, film history
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This 2 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 37 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 Week 3 2/2/16  Stories of the working class o A rebuttal against the new economy and culture  Shot on location often using non-professional actors What is Neorealism? Kogonda, UK, 2015  Terminal station/Indiscretion of an American Wife o Selznick prefers shorter take instead of lingering on extras o Essence of a different kind of cinema (neorealism) o Shooting on location o Feeling of time and place is more important than the plot  Post-neorealist legends of Italian cinema o Luchino Visconti (1906-1976)  Began as a neorealist with Russellini and DeSica, became known for theatrical melodramas  Rocco e is Suoi Fratelli / Rocco and his brothers (Italy, 1960) o Federico Fellini (surrealist not neorealist) (1920-1993)  Known for blend of surrealism and social critique  La Dolce Vita (Italy, 1960) o Michelangelo Antonioni (1912-2007)  Sumptuous imagery and obscure narratives explore modern alienation  L’Aventura (Italy, 1960) o Pier Paolo Pasolini (1922-1975)  Radical, often controversial explorations of Catholic philosophy  Accattone (Italy, 1961) o Bernardo Bertulucci  Last Tango In Paris  Explores individual narratives, sexual intimacy Federico Fellini, 1960  “La Dolce Vita”  Began as a screenwriter for Rossellini as newspaper caricaturist  Films express political concerns through baroque or absurd imagery  Ambivalent representations of Rome (especially Hollywood on the Tiber) and countryside  La Dolce Vita was his first international runaway hit o Marcello Mastroianni as disenchanted gossip columnist o Denounced by Vatican and conservative politicians o Devastation of WWII contrasted with gold-glittered Jesus o To fall for “the sweet life” is to fall for a world of illusions The Italian Cinema of International Coproductions  Sharing expenses and risks helps broaden markets for European film producers and distributors o Access more subsidies and cheaper production locals o Encouraged by creation of the European Economic Community (predecessor to EU) in 1957  In Italy, often associated with low brow genre cycles o Film cycle : rapid production of films on the same subject to capitalize on one unexpected original hit o 1958 – 1965: Peplum/Sword and Sandal  Spaghetti Western Cycle o 1961 – 1980: Over 600 films in the cycle o Coproductions between Italy and Spain, Italy and France, Italy and Germany o Takes off with Sergio Leon’s A Fistful of Dollars (1964)  Based on Kurosawa’s Yojimbo (1961)  Emphasis on the outlaw, extreme violence and pathos  Eventually gives way to irony and cheap humor o Often shot in Spain with US actors and Italian extras o Il Buono, il brutto, il cattivo/ The Good, the Bad, and the Ugly  Sergio Leone, Italy/Spain/West Germany  Blow up, Michelangelo Antonioni (Italy, UK 1966) o An Art Film director’s engagement with popular culture and commercialism (Lev, 91) o Capitalizes on the international popularity of “swinging London” o A thriller that decides not to deliver o How does its form reflect Thomas’s crisis?


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