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French New Wave
The New Wave (, ), also called the French New Wave, is a French European art cinema, art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm. New Wave filmmakers explored new approaches to film editing, editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era, often making use of irony or exploring existential themes. The New Wave is often considered one of the most influential movements in the history of cinematography, cinema. However, contemporary critics have also argued that historians have not sufficiently credited its female co-founder, Agnès Varda, and have criticized the movement's prevailing themes of sexism towards women. The term was first used by a group of French film critics and cinephiles associated with the magazine in the late 1950s and 1960s. These critics rejected the ("T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The 400 Blows
''The 400 Blows'' () is a 1959 French Coming-of-age film, coming-of-age Drama (film and television), drama film, and the directorial debut of François Truffaut, who also co-wrote the film. Shot in the anamorphic format List of anamorphic format trade names, DyaliScope, the film stars Jean-Pierre Léaud, Albert Rémy, and Claire Maurier. One of the defining films of the French New Wave, it displays many of the characteristic traits of the movement. Written by Truffaut and Marcel Moussy, the film is about Antoine Doinel (a Author surrogate, semi-autobiographical character), a misunderstood adolescent in Paris, who struggles with his parents and teachers due to his rebellious behavior. It was filmed on location, in Paris and Honfleur. ''The 400 Blows'' received numerous awards and nominations, including the Cannes Film Festival Award for Best Director, the OCIC Award, and a Palme d'Or nomination in 1959, and was also nominated for an Academy Award for Best Original Screenplay in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Auteur Theory
An (; , ) is an artist with a distinctive approach, usually a film director whose filmmaking control is so unbounded and personal that the director is likened to the "author" of the film, thus manifesting the director's unique style or thematic focus. As an unnamed value, auteurism originated in French film criticism of the late 1940s, and derives from the critical approach of André Bazin and Alexandre Astruc, whereas American critic Andrew Sarris in 1962 called it auteur theory. Yet the concept first appeared in French in 1955 when director François Truffaut termed it ''policy of the authors'', and interpreted the films of some directors, like Alfred Hitchcock, as a body revealing recurring themes and preoccupations. American actor Jerry Lewis directed his own 1960 film '' The Bellboy'' via sweeping control, and was praised for "personal genius". By 1970, the New Hollywood era had emerged with studios granting directors broad leeway. Pauline Kael argued, however, that "auteu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yugoslav Black Wave
Yugoslav Black Wave (also referred to as Black Wave; or sh-Latn-Cyrl, label=none, separator=" / ", Crni talas, Црни талас) is a blanket term for a Yugoslav film and broader cultural movement starting from the early 1960s and ending in the early 1970s. Notable directors include Dušan Makavejev, Žika Pavlović, Aleksandar Petrović, Želimir Žilnik, Mika Antić, Lordan Zafranović, Mića Popović, Đorđe Kadijević and Marko Babac. Black Wave films are known for their non-traditional approach to filmmaking, dark humor and their critical examination of socialist Yugoslav society. History Black Wave auteurs largely drew inspiration from similar trends in world cinematography, primarily the French New Wave, Italian Neorealism and the Czechoslovak New Wave. It was additionally inspired by 1968 student demonstrations in Yugoslavia, as well as other student and civil rights protests throughout the world. The filmmakers were linked by a common wish to increase th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
British New Wave
The British New Wave is a style of films released in Great Britain between 1959 and 1963. The label is a translation of ''Nouvelle Vague'', the French term first applied to the films of François Truffaut, and Jean-Luc Godard among others. Stylistic characteristics The British New Wave was characterised by many of the same stylistic and thematic conventions as the French New Wave. Usually in black and white, these films had a spontaneous quality, often shot in a pseudo-documentary (or ''cinéma vérité'') style on real locations and with real people rather than extras, apparently capturing life as it happens. There is considerable overlap between the New Wave and the '' angry young men'', those artists in British theatre and film such as playwright John Osborne and director Tony Richardson, who challenged the social ''status quo''. Their work drew attention to the reality of life for the working classes, especially in the North of England, often characterised as "It's grim up no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dogme 95
Dogme 95 (; Danish for "Dogma 95") was a Danish avant-garde filmmaking movement founded by Lars von Trier and Thomas Vinterberg, who created the "Dogme 95 Manifesto" and the "Vows of Chastity" (). These were rules to create films based on the traditional values of story, acting, and theme, while excluding the use of elaborate special effects or technology. It was supposedly created as an attempt to "take back power for the directors as artists" as opposed to the movie studio. Von Trier and Vinterberg were later joined by Kristian Levring and Søren Kragh-Jacobsen, forming a group known as the Dogme 95 Collective or the Dogme Brethren. French-American filmmaker Jean-Marc Barr and American filmmaker Harmony Korine are also seen as major figures in the movement. ''Breaking the Waves'' (1996), von Trier's first film under his own production company Zentropa, became the precursor of the movement. History Lars von Trier and Thomas Vinterberg wrote and co-signed the manifesto and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cinema Novo
Cinema Novo (; 'New Cinema'), is a genre and movement of film noted for its emphasis on social equality and intellectualism that rose to prominence in Brazil during the 1960s and 1970s.Dixon & Foster, 293. Cinema Novo formed in response to class and racial unrest both in Brazil and the United States. Influenced by Italian neorealism and French New Wave, films produced under the ideology of Cinema Novo opposed traditional Brazilian cinema, which consisted primarily of musicals, comedies and Hollywood-style epics.Johnson & Stam, 33. Glauber Rocha is widely regarded as Cinema Novo's most influential filmmaker.Gazetas, 308.Dixon & Foster, 292. Today, the movement is often divided into three sequential phases that differ in tone, style and content. Origins Background In the 1950s, Brazilian cinema was dominated by '' chanchada'' (musicals, often comedic and "cheap"),Viany, 141. big-budget epics that imitated the style of Hollywood, and "'serious' cinema" that Cinema Novo filmmake ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New German Cinema
New German Cinema () is a period in Cinema of Germany, West German cinema which lasted from 1962 to 1982, in which a new generation of directors emerged who, working with low budgets, and influenced by the French New Wave and Italian Neorealism, gained notice by producing a number of "small" motion pictures that caught the attention of Art film, art house audiences. These filmmakers included Percy Adlon, Harun Farocki, Rainer Werner Fassbinder, Peter Fleischmann, Werner Herzog, Alexander Kluge, Ulli Lommel, Wolfgang Petersen, Volker Schlöndorff, Helma Sanders-Brahms, Werner Schroeter, Hans-Jürgen Syberberg, Margarethe von Trotta and Wim Wenders. As a result of the attention they garnered, they were able (particularly in the case of Wenders, Petersen, and Schlöndorff) to create better-financed productions which were backed by the Film studio, big US studios. However, most of these larger films were commercial failures and the movement was heavily dependent on subsidies. By 1977, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New Hollywood
The New Hollywood, Hollywood Renaissance, American New Wave, or New American Cinema (not to be confused with the New American Cinema of the 1960s that was part of Experimental film, avant-garde underground film, underground cinema), was a movement in Cinema of the United States, American film history from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence. They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking. In New Hollywood films, the film director, rather than the studio, took on a key Auteur theory, authorial role. The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that the New Hollywood consists of several different movements. The films made in this movement are stylistica ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Japanese New Wave
The is a term for a group of loosely-connected Japanese films and filmmakers between the late 1950s and part of the 1970s. The most prominent representatives include directors Nagisa Ōshima, Yoshishige Yoshida, Masahiro Shinoda and Shōhei Imamura. History The term ''New Wave'' was coined after the French '' Nouvelle vague'', a movement which had challenged the traditions of their national cinema in style and content, countering established narratives and genres with "the ambiguous complexities of human relationships" and polished techniques with deliberately rough ones, and introducing the theory that directors should be the auteurs of their films. Unlike the French counterpart, the Japanese New Wave originated within the film studio establishment, especially Shochiku, whose head Shirō Kido hoped that "cheaply made, innovative pictures could emulate the success of the Nouvelle Vague in Europe". This policy saw the emergence of filmmakers like Nagisa Ōshima, Yoshishige Yo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bertolt Brecht
Eugen Berthold Friedrich Brecht (10 February 1898 – 14 August 1956), known as Bertolt Brecht and Bert Brecht, was a German theatre practitioner, playwright, and poet. Coming of age during the Weimar Republic, he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote ''The Threepenny Opera'' with Elisabeth Hauptmann and Kurt Weill and began a life-long collaboration with the composer Hanns Eisler. Immersed in Marxist thought during this period, Brecht wrote didactic ''Lehrstücke'' and became a leading theoretician of epic theatre (which he later preferred to call "dialectical theatre") and the . When the Nazi Party, Nazis came to power in Germany in 1933, Brecht fled his home country, initially to Scandinavia. During World War II he moved to Southern California where he established himself as a screenwriter, while also being surveilled by the FBI. In 1947, he was part of the first group of Hollywood film artists to be subpoenaed by the Ho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New Left
The New Left was a broad political movement that emerged from the counterculture of the 1960s and continued through the 1970s. It consisted of activists in the Western world who, in reaction to the era's liberal establishment, campaigned for freer lifestyles on a broad range of social issues such as feminism, LGBT movements, gay rights, Drug liberalization, drug policy reforms, and gender relations. The New Left differs from the traditional left in that it tended to acknowledge the struggle for various forms of social justice, whereas previous movements prioritized explicitly economic goals. However, many have used the term "New Left" to describe an evolution, continuation, and revitalization of traditional Left-wing politics, leftist goals. Some who self-identified as "New Left" rejected involvement with the Labour movement, labor movement and Marxism's historical theory of Class conflict, class struggle; however, others gravitated to their own takes on established forms of Marxis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Art Film
An art film, arthouse film, or specialty film is an independent film aimed at a niche market rather than a mass market audience. It is "intended to be a serious, artistic work, often experimental and not designed for mass appeal", "made primarily for aesthetic reasons rather than commercial profit", and containing "unconventional or highly symbolic content". Film critics and film studies scholars typically define an art film as possessing "formal qualities that mark them as different from mainstream Hollywood films". These qualities can include (among other elements) a sense of social realism; an emphasis on the authorial expressiveness of the director; and a focus on the thoughts, dreams, or motivations of characters, as opposed to the unfolding of a clear, goal-driven story. Film scholars David Bordwell and Barry Keith Grant describe art cinema as "a film genre, with its own distinct conventions". Art film producers usually present their films at special theaters (repertory ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
