POSTWAR CINEMA ART CINEMA & THE IDEA OF AUTHORSHIP.

POSTWAR CINEMAPOSTWAR CINEMA

ART CINEMAART CINEMA

&&

THE IDEA OF AUTHORSHIPTHE IDEA OF AUTHORSHIP

PRE-HISTORY of the EACPRE-HISTORY of the EAC

Europe (esp Germany, France, & Europe (esp Germany, France, & Denmark) early producer of filmsDenmark) early producer of films– Truly competitiveTruly competitive– Historical & economic factors forced Historical & economic factors forced

Europe to struggle to compete with Europe to struggle to compete with HollywoodHollywood


Major forces have been the 2 Major forces have been the 2 World WarsWorld Wars– The Impact of WW 1The Impact of WW 1

» W Europe devastated, economy ruined, W Europe devastated, economy ruined, but US unharmed; Hollywood became but US unharmed; Hollywood became dominant film producerdominant film producer

» Europe created distinctive national Europe created distinctive national cinemas:cinemas:

GERMAN EXPRESSIONISM (1919-24)GERMAN EXPRESSIONISM (1919-24) FRENCH IMPRESSIONISM (1917-30)FRENCH IMPRESSIONISM (1917-30)


After WW 2, a similar situation After WW 2, a similar situation occurredoccurred– W Europe created EAC, which W Europe created EAC, which

promotes “auteurism”promotes “auteurism”– Films meant to be personal Films meant to be personal

expressions of individual artistsexpressions of individual artists


ESTABLISHMENT OF THE EACESTABLISHMENT OF THE EAC– Stimulated in 1950s & 60s by 4 Stimulated in 1950s & 60s by 4

eventsevents» Establishment of film studies in Establishment of film studies in

universitiesuniversities» Rise of serious film criticismRise of serious film criticism» Film festivalsFilm festivals» Establishment of “art theatres” in the USEstablishment of “art theatres” in the US

THE EAC’S FORM & SUBJECT THE EAC’S FORM & SUBJECT MATTERMATTER

Not subject to Hollywood's moral Not subject to Hollywood's moral code of the 1950scode of the 1950s– Nudity, sexual situations & language Nudity, sexual situations & language

not allowed in the CHCnot allowed in the CHC– Advertising emphasized this aspectAdvertising emphasized this aspect

Like the CHC, narrative fiction filmsLike the CHC, narrative fiction films– Cause & effect not as closely linkedCause & effect not as closely linked– Led critics to describe EAC as more Led critics to describe EAC as more

realistic than CHCrealistic than CHC

THE EAC’S FORM & SUBJECT THE EAC’S FORM & SUBJECT MATTERMATTER

Characters more complex than in CHCCharacters more complex than in CHC– Rarely have clearly defined goalsRarely have clearly defined goals– Conflicts tend to be within a character, not Conflicts tend to be within a character, not

between charactersbetween characters CLOSURECLOSURE

– Smaller degree of CLOSURE than those of Smaller degree of CLOSURE than those of the CHCthe CHC

– More like real life? Life is more ambiguous More like real life? Life is more ambiguous than is Hollywood cinemathan is Hollywood cinema

We tend to consider what we can’t We tend to consider what we can’t explain as statements of the auteurexplain as statements of the auteur

THE EAC’S STYLETHE EAC’S STYLE

EAC is more subjective than CHC, with EAC is more subjective than CHC, with dream sequences & presentation of dream sequences & presentation of interior thoughts of characters not interior thoughts of characters not clearly markedclearly marked

Narration of EAC often overtNarration of EAC often overt– Obvious that there is a narratorObvious that there is a narrator– Highlights presence of a controlling power Highlights presence of a controlling power

(the director)(the director)– Highlights construction of the film (SELF-Highlights construction of the film (SELF-

REFLEXIVE)REFLEXIVE)

THE EAC’S STYLETHE EAC’S STYLE

We know less than the characters We know less than the characters know, more flashforwards & know, more flashforwards & techniques such as slow motion, techniques such as slow motion, etc.etc.

EAC often called “stylized film”EAC often called “stylized film” SPACE & TIME are often not SPACE & TIME are often not

articulated clearly as in the CHCarticulated clearly as in the CHC

CONVENTIONS OF THE CONVENTIONS OF THE EACEAC

GAPS created in cause & effect GAPS created in cause & effect relationship of eventsrelationship of events

CHANCE: Events often happen by CHANCE: Events often happen by chancechance

BIOGRAPHY: a character drifting BIOGRAPHY: a character drifting through lifethrough life

““SLICE-OF-LIFE”: events that take SLICE-OF-LIFE”: events that take place in a bar, cafe, etc.place in a bar, cafe, etc.

CONVENTIONS OF THE CONVENTIONS OF THE EACEAC

THE BOUNDARY SITUATIONTHE BOUNDARY SITUATION– Character may face a crisisCharacter may face a crisis– Often accompanied by conventions of mise-Often accompanied by conventions of mise-

en-scene: static postures, smiles that fade, en-scene: static postures, smiles that fade, aimless walks, etc.aimless walks, etc.

– Often accompanied by conventions of Often accompanied by conventions of editing & cinematography: flashbacks, editing & cinematography: flashbacks, freeze-frames, slow motion, etc.freeze-frames, slow motion, etc.

AMBIGUITY: ultimate explanation for AMBIGUITY: ultimate explanation for EAC films is that there is no explanationEAC films is that there is no explanation

THE EAC & REALISMTHE EAC & REALISM

Is the EAC actually more realistic?Is the EAC actually more realistic? Or another way of presenting Or another way of presenting

reality, another set of conventions? reality, another set of conventions?

POSTWAR CINEMAPOSTWAR CINEMA

LUIS BUÑUEL AS AUTEURLUIS BUÑUEL AS AUTEUR

EARLY LIFEEARLY LIFE

Born in Spain, 1900, of upper-class Born in Spain, 1900, of upper-class parentsparents

Educated in Catholic schoolsEducated in Catholic schools Attended University of Madrid, met Attended University of Madrid, met

Salvador DaliSalvador Dali Studied film, joined community of Studied film, joined community of

avant-garde artists active in Parisavant-garde artists active in Paris

FILM CAREERFILM CAREER

1929, Buñuel & Dali made 1929, Buñuel & Dali made An An Andalusian DogAndalusian Dog ( (Un chien andalouUn chien andalou))– Based on dreams & fantasies, Based on dreams & fantasies,

designed to defy interpretation, shock designed to defy interpretation, shock middle-class audiencemiddle-class audience

– Popular among avant-garde Popular among avant-garde community in France & worldwidecommunity in France & worldwide

An Andalusian Dog An Andalusian Dog (1929)(1929)

The Age of GoldThe Age of Gold((L'Age d'OrL'Age d'Or, 1930), 1930)

Land without BreadLand without Bread((Las HurdesLas Hurdes, 1932), 1932)


Did not make another film until 1947Did not make another film until 1947 During the Spanish Civil War, Buñuel During the Spanish Civil War, Buñuel

worked in Hollywoodworked in Hollywood During WW2, Buñuel worked on films for During WW2, Buñuel worked on films for

US Army until it became known that he US Army until it became known that he was an atheistwas an atheist

1947, went to Mexico & made 1947, went to Mexico & made commercial films; inserted more & more commercial films; inserted more & more his own ideas & social criticism about his own ideas & social criticism about religion, sex & middle classreligion, sex & middle class

The Young and The The Young and The DamnedDamned

((Los olvidadosLos olvidados, 1950), 1950)


1960s, returned to France1960s, returned to France– Major international director, but never Major international director, but never

big commercial successbig commercial success– Films continue obsession with sex, Films continue obsession with sex,

religion & middle classreligion & middle class– More tolerance & a sense of humor, More tolerance & a sense of humor,

ambiguityambiguity

That Obscure Object of That Obscure Object of DesireDesire ( (Cet obcur objet du Cet obcur objet du

desirdesir, 1977) , 1977)

LUIS BUÑUEL (1900-LUIS BUÑUEL (1900-1983)1983)

““Thank God I’m an atheist”Thank God I’m an atheist”

POSTWAR CINEMA ART CINEMA & THE IDEA OF AUTHORSHIP.

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