Direct Cinema The term 'direct cinema' was coined by American director Albert Maysles, to describe the style of documentary that he and his contemporaries were making in the 1960s as a result of a lightweight, portable 16mm camera and high quality lightweight audio recorders becoming available. The introduction of these, together with film-stock which was sensitive enough to give a good quality close-up monochrome picture under most lighting conditions (Including hand-held lights) led to a revolution in Documentary filmmaking, allowing film crews to be much more flexible. Gone were the days of bulky, virtually immobile 35mm cameras; now manufacturers improved their 16mm stock and accepted it as a professional format. In 1959 a group comprising graduates from Drew Associates, a company formed by Robert Drew (an ex journalist) and Richard Leacock, joined forces. Their ethos was to record events as they happened, without interfering and in an attempt to transfer the style of photojournalism to their filmmaking. The group - comprising Pennebaker, Leacock and Maysles - was a key feature of American direct cinema throughout the 1960s and the 1970s. Together with Drew they made a total of nineteen pioneering films for television, beginning in 1960 with Primary. In this documentary, for the first time, the audience was able to follow a person (in this case presidential hopefuls John F. Kennedy and Hubert Humphrey) moving from a car, through a corridor, into a hall where he is about to give a speech and all in one shot! Drew saw direct cinema as a 'theatre without actors' and so the group concentrated on subjects who were so absorbed ... ... middle of paper ... ... a human eye and it also had a better memory. This led to what he called 'cinema-sincerity' in that filmmakers were asking their audience to have faith in their work and the evidence being presented to them. '[You] say to the audience, this is what I saw. I didn't fake it, this is what happened. I didn't pay anyone to fight, I didn't change anyone's behaviour. I looked at what happened with my subjective eye and this is what I believe took place. ' Jean Rouch Few filmmakers practised cinema verite in its most pure form. However, its influence can be seen in the work of several contemporary documentarists, such as Molly Dineen and Nick Broomfield. These days 'cinema-verite' is frequently used as a blanket term to describe the documentary film-making style rather than the principles of the film-makers themselves.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Classical Hollywood Cinema Classical Hollywood cinema is a character-centered cinema. Its characters are more or less stable, knowable, and psychologically coherent individuals who possess clearly defined, specific goals. Although this cinema is also a plot driven or action cinema, characters stand in the center and interact with them. Over the course of the narrative characters struggle to achieve their goals or solve their problems.
1. For those of you who don’t know, surround sound is a system of speakers
New German Cinema Introduction The Second World War brought forth not only physical destruction to Germany, but also cultural destruction, particularly in its film industry. The film industry of West Germany, in particular, went under the inevitable control of the United States (US). American films became popular among the West German public, while prominent West German directors and actors chose to leave West Germany to pursue their careers in Hollywood, with many of them becoming highly successful. Yet, it did not take long for West Germany to become self-reliant in terms of reinvigorating its domestic film talents amidst the continued dominance of American films.
When we take into account the history of U.S movies the Progressive Era is roughly chartered around 1900-1920, a period that witnessed intense social reform. Social unrest and street crime became a major concern as cities were expanding rapidly filling with immigrants and the poor and leading some of them to form criminal gangs (Rafter 15). There was forced prostitution and police were uneducated, corrupt and brutal and this state came to a close with the enactment of the anti-alcohol 18th Amendment which encouraged bootlegging and organized crime. During the silent film era US became concerned about the manifestations of crime. Ordinary citizens for the first time began to think about the sources of criminality and ways to improve social
Film From Hell " From Hell" is another movie based on the case of Jack The Ripper, by. the New 20th Century Fox Productions. The Ripper haunted Whitechapel, a. district of East London, during the late 1880s. He was said to be the first documented and investigated serial killer at the time. One thing We should ask ourselves when we are watching this two hour masterpiece.
According to WordReference English-Spanish Dictionary, a paleto is a derogatory slang term translated to English as a “redneck.” During the 1950s and 1960s, there was a rapid increase in the popularity of Paleto Cinema, which often portrayed the difficult situation of the attempted assimilation of rustic villagers into cosmopolitan Spanish cities. Paleto cinema contrasted the cosmopolitan urban life of cities with the agriculturally based rural life of the villages that were groundlessly considered unsophisticated. However, there is a great distinction between paleto cinema movies based on the year of their respective release.
audience that it is not real is done here, they can see the change of
Other examples he provides are the widespread integration of graphics, sound effects, and footage that emulates video games, as well as what he calls the ‘promiscuous mixtures’ of different styles of footage. Once more, Domino is the perfect support to Shaviro’s argument. Scott continuously plays with graphics and sound design; he inserts surveillance footage sporadically throughout the film; intertitles are inserted with indiscriminate point of views; he rewinds footage to nullify narrative action, etc. Scott also occasionally stops all action to introduce a new character, freezing the frame and throwing their name on the screen, regardless of the size of the role the character will play. A prime example of this style occurs when Domino explains the relationships between the characters and the stolen ten million dollars; the screen turns into a series of charts, mixing stills and moving images of characters and scenes, linking them with a bright green line. The camera zooms into one of the stills and introduces us to the mob boss, Anthony Cigliutti. He sits in a strange plastic globe at the bottom of his pool with a cordless phone (Domino explains in voiceover that this is to avoid the ears of the FBI). His voice is highly
The theories of the window and frame had its origins in the schools of formalism and realism. Both schools main objective was to amplify the prestige of film. During that era of film was an upstart sideshow attraction, high class form of entertainment was the theater and the visual art forms of paintings and statues. Both schools saw cinema as a way of looking a through an aperture but keeping the audience at a distance from the subject on the screen. Whether looking through at frame or looking through a window the audience would be viewing the subject matter but they would only be able to absorb it. That’s where the similarities end the formalist lead by theorist Sergei Eisenstein saw film as frame and would create shock in an attempt to provoke or raise consciousness. Sergei Eisenstein would create what he wanted to the audience to see in his films. For example in the Battleship Potemkin Eisenstein wanted to address the situation with Russia and he created the situation in his film to incite a revolution by creating chaos. The realism school lead by André Bazin saw cinema as window. To Bazin a spectator would be apart of the film as more of a witness more than just a spectator. In the movie Rear Window Jefferies was witness to his neighbor wife murder while looking through window because while looking through a window what one sees is real.
Is there such thing as a global cinema industry? Debate this question with reference to contemporary cinema production
Hamid Dabashi in his “Introduction” to Dreams of a Nation: On Palestinian Cinema establishes Palestinian cinema as traumatic realism. The defining feature of traumatic realism is “The mutation of…repressed anger into an aestheticized violence - the aesthetic presence of a political absence” (Dabashi, “Introduction” 11). Here, aestheticized violence serves a political underpinning. Elsewhere in contemporary cinema, which is no stranger to aestheticized violence, directors focus on the aestheticization as such. Dabashi repeatedly singles out Elia Suleiman for special recognition among Palestinian directors. For him, Suleiman’s films are particularly attuned to the crisis of mimesis in traumatic realism (Dabashi, “Introduction” 21). Suleiman’s affinity to cinematically represent the crisis of mimesis, while still attending to the politically repressed leads to a unique aestheticization of violence, which focuses on narrative and cinematic means of stylization over finely polished visual representations found in modern consumer cinema.
“One of the great things about being a director as a life choice is that it can never be mastered. Every story is its own kind of expedition, with its own set of challenges” (“Filmmaker IQ” 2). The Academy Award winning director, Ron Howard, said this quote. Directing a film is a well know job around the world. Movies have brought happiness to millions of people around the world. Directors are the main force behind the creation of this happiness. However, this job is not easy. Film directors are people that pull all of the film together with their expertise and eye for beauty, which explains why they are paid around 70,000 dollars and why this career demands specific qualifications.
The Job of a Film Director The film director has an elaborate job, classed as an art in its own
Filipinos started making movies in the year of 1919. The first Filipino to make a movie goes to Jose Nepomuceno, also known as the ”Father of Philippine Movies”, Since then the Philippine movies became hit. Lately after Foreign films rise in the Philippine cinema. In the Year 2000’s, it shows the dramatic decline of the Philippine movie industry. The Hollywood films control the mainstream cinemas even more and the movies produced in Philippines gradually decreases that is why many producers and production companies stop producing movies after losing a million of pesos.