Term
|
Definition
Max Ophuls
Jacque Tati
Robert Bresson |
|
|
Term
|
Definition
•Western European Economies had recovered from the war
•TV had taken hold in Europe
•Consumption was on the rise
•New forms of leisure including mass tourism and sports
•Sexual Liberation, Rock Music, Fashion |
|
|
Term
|
Definition
| Bollywood is the informal term popularly used for the Hindi-language film industry based in Mumbai, Maharashtra, India. Bollywood is the largest film producer in India and one of the largest centers of film production in the world. |
|
|
Term
|
Definition
a developing concept within film studies that encompasses a range of theories relating to the effects of globalization upon the cultural and economic aspects of film. It incorporates the debates and influences of postnationalism, postcolonialism, consumerism and Third cinema[1], amongst many other topics.
Transnational cinema debates consider the development and subsequent effect of films, cinemas and auteurs which supersede national boundaries in becoming cultural products and representations. |
|
|
Term
| French New Wave (characteristics) |
|
Definition
1950's and 60's movement
Influenced my Italian neorealism
• Cinema must express a personal vision -- deemphasizes its industrial status. What he called “personalism”
• Focus on capturing “objective reality” - thus favored documentary and Italian neo-realism
• Admired directors who made themselves “invisible” and let the scene unfold
• Preferred to forward narrative through mise en-scene rather than editing.
• Stressed the need for deep focus (Welles) and wide shot (Renoir) to capture reality |
|
|
Term
| French New Wave directors |
|
Definition
| Jean Luc Goddard, Jean Renoir, Max Ophuls, Robert Bresson and Jean Vigo, Andre Bazin, Alexander Astruc, Andre Bazin |
|
|
Term
| What makes New Wave "New" |
|
Definition
•Interest in new themes and modes of representation
•Rebellious, youthful, iconoclastic
•Very young filmmakers -- Truffaut and Godard were not quite 30 when they made their masterpieces
•Worked outside or remained marginal to professional infrastructure of the industry-- movies very inexpensively made, with friends acting in them |
|
|
Term
| Formal features/Attributes of FNW |
|
Definition
• Freeze frames
• Jump cuts
• Long takes
• Direct address to the camera
• Cutting the frame
• Extreme self-consciousness
• Direct sound recording
• Zoom Lenses
• Faster film including 16 mm
• Collage
• Citation -- older film history -- inserted moments of cinephilia
• Take genres and then play with them -- highlighting the conventions and artifice of film-making
• Improvisatory -- include principles of documentary and newsfootage -- use of lightweight camera and telephoto lens |
|
|
Term
|
Definition
•popularized the open text
•helped cement European art cinema as central to cinema
•influenced other movements and national cinemas
•conventions absorbed into mainstream media
•auteur theory became common
•“personal expression” approach influenced directors worldwide |
|
|
Term
|
Definition
| Hollywood, or the cinema of distraction |
|
|
Term
|
Definition
| European art cinema which is cinema of individual expression |
|
|
Term
|
Definition
| neither a mass product in the Hollywood sense nor a means of artistic expression but rather cinema as a form of politics |
|
|
Term
| Cinema Novo characteristics (brazil) |
|
Definition
Featured countries' backwardness
Peasants
• Borrowed from European Modernist cinema, neo-realism and new wave but towards overtly political ends
• Aesthetic Strategies of modernism – objective reality, subjective reality and authorial commentary towards the ends of :
Political Modernism
Promote modernity – political and social by embracing secular ideals
Like all other modernist cinema
drew on….
• Brazilian modernism of the 1920s
• Contemporary literary experiments
• Augusto Boal’s Theatre of the Oppressed
Combined:
Myth with History
Dreams with Documentary Reality
Modernism with Folklore
• Handheld cameras
• Zoom shots
• Plan-sequences
• Underplayed Dramatic Moments
• Ambiguous spatial and temporal leaps |
|
|
Term
| Results and influences of Third Cinema/Brazil |
|
Definition
• Global attention to Brazilian cinema
• Maturing of film culture in Brazil
• State investment in Film and promotion of national cinema through quotas, tax exemptions, uniform ticket prices
• By 1969, through an agency like Embrafilme low interest loans to filmmakers
• Yet artists fled since the movement was no longer as independent or radical
Cinema Novo
• Popularity of samba and bossa nova music helped promote CN as the product of
This “total transformation” was the goal of third cinema |
|
|
Term
|
Definition
• The Third World
• First world refers to developed industrialized nations of Western Europe and the US
• Second world refers to the Soviet Bloc – former USSR and Eastern Europe
• Third world refers to newly decolonized nations in the Latin America, Asia and Africa |
|
|
Term
|
Definition
• Must resist colonial and neo-colonial power – cinema as a means of fighting against oppression
• Cinema as critique – of social and economic inequalities, the power structure, the failures of the state to deliver welfare to its people
• Cinema’s goal is not to entertain or provide pleasure but to provoke thought and encourage the spectator to fight for and bring about change |
|
|
Term
|
Definition
1956: The revolutionaries arrive in Cuba ready to overthrow Batista
• Jan 1, 1959: Fidel Castro leads his forces into Havana the regime falls
• In artistic sphere, creates Instituto Cubano del Arte e Industrios Cinematograficos
• Headed by Che’s brother, Alfredo Guevara
• Cine journal, film archive and mobile production units
• Previous Cuban cinema mainly genre films and pornography |
|
|
Term
| Sub-saharan african cinema |
|
Definition
• Controlled by Hollywood and European Interests
• Dumped cheap films from Egypt, India and Hongkong into these markets
• None were large enough to support a national film industry |
|
|
Term
|
Definition
• Linked to larger cultural movements like “negritude”
• Co-operated to establish film festivals in Tunis and Burkina Faso
• 1970: established Federation Pan-Africaine des Cineastes to promote free exchange of films, share resources, promote African cinema and also lobby governments for resources
African Francophone Cinema |
|
|
Term
| African cinema as "last" cinema |
|
Definition
• This term refers to an ongoing categorization of cinema in terms of “first” (Hollywood), “second” (developed world national cinema – basically Europe and Japan) and then “third” (developing world – Brazil, India, Latin America, Egypt and the Middle East).
• African Scholar Frank Ukadike makes the point that structural conditions in Africa are so dire that some people refer to African cinema as “Last Cinema” but this also means the latest unlike other developing countries like India and Latin America, it arrived on the scene only in the 1970s. |
|
|
Term
| Reasons for change in New Hollywood |
|
Definition
Low attendance continues from the 50’s TV invasion, coupled with suburban migration.
Series of HUGE economic bombs bankrupt studios: Hello Dolly (‘69) loses $16m for FOX
Hollywood not relevant to young audiences, and too conceited to care!
…and Audiences Change
Young people (under 30) make up 75% of movie audience (old people watch TV)
Popularity of cult movies, drive ins, teen movies
Low attendance opens door to niche markets (sexploitation/blackploitation) |
|
|
Term
| Reasons for change in New Hollywood |
|
Definition
Low attendance continues from the 50’s TV invasion, coupled with suburban migration.
Series of HUGE economic bombs bankrupt studios: Hello Dolly (‘69) loses $16m for FOX
Hollywood not relevant to young audiences, and too conceited to care!
…and Audiences Change
Young people (under 30) make up 75% of movie audience (old people watch TV)
Popularity of cult movies, drive ins, teen movies
Low attendance opens door to niche markets (sexploitation/blackploitation) |
|
|
Term
| How does Hollywood deal with political changes? |
|
Definition
THEY DON’T!
They try to maintain the status quo even though they are failing (Cleopatra loses $40m)
Forced to sell theaters (helps kill prod. code)
Production code (1934) goes out the window in 1968, replaced with the ratings G, M, R, X.
• Who’s Afraid of Virginia Wolfe (‘67) and Bonnie and Clyde (’69) challenge obscenity laws and win!
Bankruptcy forces many studios to be sold, most to huge conglomerates |
|
|
Term
|
Definition
Indie filmmaker
▪ gives low-budget jobs to up-and-comers, and if they deliver, they get film and cameras for their own projects |
|
|
Term
|
Definition
Offbeat antihero – often violent and/or maladjusted
Society is sterile - protagonists disillusioned, characterized by antiestablishmentarianism (much like the filmmakers themselves!)
Questioning of ‘The American Dream’
Heroes of the counterculture
Explicit treatment of sexual conflict, psychological problems, and the violence of the social milieu
Exploration of characters’ private mental experience (both narrative and formal) |
|
|
Term
|
Definition
Self-reflexive and self-conscious use of film-making:
• Slow Motion
• Grainy film stock
• Jump Cuts
• Match-on-action
• Splitting the widescreen
• Mixing B&W and color stock
• Experimental use of sound and music (rock soundtrack!)
• Flashback and forward
• Long takes
• Lyrical treatment of violence
• Ambiguous ending |
|
|
Term
|
Definition
Directors get too much power, ego, drugs. Go over budgets, disregard input, egomaniacal.
Hollywood, as always, began to buy and sell the indie aesthetic as its own.
Star Wars / Jaws |
|
|
