Melody Yueying Chen
Lending Emptiness The French is privileged to have their effortless chic and unique style, and nowhere is this better depict by the French New Wave films from the late 1950’s to the late 1960’s. Jean-Luc Godard, one of the greatest names in the history of film, was a pioneer of filmmaking back in the new wave era, and stay influential throughout the century. In the 1960’s, France was undergoing post-war economic growth. After the Hiroshima bombing, Vietnam War, and more political events, the youth in France spoke as one voice aimed at changing the world. In the early 1950’s, after the first post-war decade, criticism of the Tradition of Quality, adaption on literal classics, rises among the young crowd (Bordwell and Thompson,
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He holds a mirror up to humanity, focuses on individuals and reflects on how people react to ordinary matters and troubling situations. Vivre Sa Vie (Jean-Luc Godard, 1962), Godard’s forth feature length film, captured the soul and essence of the French New Wave. One of the most distinct New Wave trait portrayed in Vivre Sa Vie is the documentary style of filmmaking. The camera follows the main character who is telling the story at times it spins around just like human …show more content…
She looks over his shoulder; eyes distanced and empty, as if she is not doing what she is doing. Paul, Nana’s ex-lover, quoted a poem at the very first scene of the film: “A bird is an animal with an inside and an outside. Take away the outside and the inside is left. Take away the inside and you see its soul.” Up until this point, all you can see in Nana is an empty soul. From a countryside girl moving to Paris, to losing her job and a place to stay, to becoming a prostitute, Nana has lost her original self. Because of living, she gave up her dream, lent herself to prostitution, to the power of money. Who she was from the very beginning is no longer there, all it’s left, is an empty soul in an empty shell. It is her fate that such sadness would happen because of her
Agnes Varda is not only one of the few female directors of new wave cinema; she is also credited as having helped create the genre. Her short film La Point–Courte is considered by some as the first new wave film. Her first full length movie, Cleo 5 to 7 falls within this genre as well. It is the story of a young woman dying of cancer and how she sees the world in the context of time. We follow the singer Cleo as she changes into the woman Flora and as she does so she begins to look at time in a different manner. It is the way time is represented through the camera shots which really make this film part of its new wave genre.
There are many cumulative events that have influenced Western Civilization reflective in today’s modern world, but the most impactful was the French Revolution. Western Civilization has many historic milestones building to the world as we know it, but none set such broad themes that are felt in our everyday life. Many of these themes have become so ingrained into the way we live that we can’t understand a world without them. For this reason, the effects of the French Revolution molded the westernized world more so than any other event. I consider the French Revolution the catalyst to how our world is shaped today. It’s ideas and events continue to echo through our lives century after century.
Symbolism is a poetic and literary element that interacts with readers and engages their feelings and emotions. In Sold, thirteen-year-old Nepali girl, Lakshmi, is forced to take a job to help support her family. Involuntarily, she ends up in prostitution via the Happiness House; this sex trafficking battle forces Lakshmi to envision her future and possibility of never returning home. The very first vignette of the novel speaks of a tin roof that her family desperately needs, especially for monsoon season. At the brothel, Lakshmi works to pay off her debt to the head mistress, Mumtaz, but cannot seem to get any sort of financial gain in her time there. Both the tin roof and the debt symbolize unforeseen and improbable ambitions, yet she finds the power within herself to believe. How does Lakshmi believe in herself despite her unfathomable living conditions and occupation?
Canadian filmmaker and cinephile, Guy Maddin once said, “I do feel a bit like Dracula in Winnipeg. I’m safe, but can travel abroad and suck up all sorts of ideas from other filmmakers… Then I can come back here and hoard these tropes and cinematic devices.” Here, Maddin addresses his filmmaking saying that he takes aspects from different film styles and appropriates them into his own work. In The Saddest Music in the World (2003), Maddin uses a combination of French Surrealist filmmaking and classical American Hollywood cinema, specifically melodrama, to create his own style. In an article by William Beard, Steven Shaviro talks about Maddin’s filmmaking, and he links Surrealism and melodrama together saying, “Maddin’s films are driven by a tension between romantic excess [melodrama] on the one hand and absurdist humour [Surrealism] on the other.” In regards to The Saddest Music in the World, the relationship between Surrealism and melodrama is not one of tension, as Shaviro suggests, but one of cooperation. This paper will analyze two films by filmmakers Maddin was familiar with —Un Chien Andalou (1929) by Luis Buñuel and Salvador Dali on the Surrealist side, and All That Heaven Allows (1955) by Douglas Sirk on the melodrama side—to showcase the important elements of each, concluding with an analysis of The Saddest Music in the World in conjunction with both film styles. Ultimately, it will be shown how Guy Maddin combines French Surrealist cinema and Hollywood melodrama in The Saddest Music in the World, to create his own unique film style.
Bordwell, David. “The Art Cinema as a Mode of Film Practice.” Film Theory and Criticism. Eds. Leo Braudy and Marshall Cohen. Oxford University Press, 2009: 649-657.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
A great example of this would be the film Breathless, directed by Godard. This is a story of the love between a small-time crook who is wanted for killing a cop, and an American woman who works for a French newspaper. Their relationship develops as the man hides out from the police. Breathless uses the famous techniques of the French New Wave: location shooting, improvised dialogue, and a loose narrative form. Godard also uses cuts that seem, to jump from one scene to another, with what seem to be deliberate \"mismatches\" between shots. This is what makes this movie so special. It could never have been made before it had been. It was made in the post worlds War II era in the year 1959. The plot and subjects reflect this, because there really is no major plot except for the one that I have already described. This was a revolutionary movie in that aspect. This movie was made in France, partly because that was where it was set, but mainly because that is where the new director could afford to make such a makeshift movie.
... movie stars like royalty or mythical gods and goddesses, viewing the drama between great archetypal characters in a personal psychic realm. By considering the statements made and their societal impact from a Marxist perspective, Benjamin’s method is highly effective, as it does not simply consider art in terms of pure aesthetics anymore, but considers art’s place in a society capable of mechanically reproducing and endlessly duplicating film, photography, and digital art. His qualm with losing the aura and mystique of an original work is negated by the cult of movie stars, the adoration of fame, the incorporation of soundtracks which embody a particular time period, cinematographic allusions, and time-capsule-like qualities of a film such as Basquiat, a 90s tribute to the 80s, produced both as a part of and resulting from the art movements and trends it addresses.
1959 was an exciting year in the history of filmmaking. An extraordinary conjunction of talent throughout the globe exists. In France, Truffaut, Godard, Chabrol, Rohmer, Rivette, and Resnais all directed their first films, thus establishing the French New Wave. In Italy, Fellini created the elegant La Dolce Vita, and Antonioni gave us L’avventura. Most importantly, though, in America, famed British director Alfred Hitchcock gave us the classic thriller North by Northwest, the father of the modern action film.
Although in shambles, It did not take long for film to make a resurgence in France. Domestic production was boosted following the introduction of The Centre National de la Cinématographe, a government organization that provided assistance to the industry in the form of loans and training. Imported films, especially those from America, began flowing into France following its liberation by Allied forces, and moviegoers were suddenly exposed to years of new films they had been previously cut off from all at once. As the market for films began to heat up, French filmmakers were presented with two choices; continue producing films adapted from relatively outdated literary works in the classic French tradition, or imitate the Hollywood Studio system of production, creating big-budget features for an international audience with the assistance of the CNC. These contrasting styles of filmmaking...
Solt, Mary Ellen. “France.” Concrete Poetry: A World View. N.p.: Indiana University Press, 1968. Accessed 7 April 2009 < http://www.ubu.com/papers/solt/france.html>.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Breathless is in many ways the antithesis of the classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave.
Oxford Art Online. “Neo-classicism & The French Revolution”. Oxford University Press. Web. 5th May 2013.
In the 1950s, authors tended to follow common themes, these themes were summed up in an art called postmodernism. Postmodernism took place after the Cold War, themes changed drastically, and boundaries were broken down. Postmodern authors defined themselves by “avoiding traditional closure of themes or situations” (Postmodernism). Postmodernism tends to play with the mind, and give a new meaning to things, “Postmodern art often makes it a point of demonstrating in an obvious way the instability of meaning (Clayton)”. What makes postmodernism most unique is its unpredictable nature and “think o...