World Film History II 3. 2010

7/28/2019 World Film History II 3. 2010

1/49

World Film History II

From Neorealism to the New Wave


2/49

Luigi Chiarini: Neorealism betrayed

(1955)

Men derived from the audiences' own realityreplaced the pre-conceived characters inconventional narratives of the past

The chronicle (if we can call it that), events and factsculled from the daily existence of men, replaced theprefabricated adventures of novels and comedies

The throbbing photographic document replacedpictorial and figurative virtuosity

The cities and countryside, with people effectivelyliving there, replaced thepapier-mach scenery ofthe past


3/49

Geoffrey Nowell-Smiths criteria for

neorealism (1968)

Realistic treatment of subject matter

Popular environments

Social content Historical accuracy

Political commitment


4/49

Felix A. Morlion, The philosophical basis

of Italian cinematic neorealism

Neo-realism's thesis is that the screen is a magic window whichopens out on to the "real"; that cinematic art is the art of recreating,through the exercise of free choice upon the material world, themost intense vision possible of the invisible reality inherent in the

movements of the mind. The basis of every good work of art is notwhat people thinkabout reality, but what reality actually is. Througha shared vision of existence, both artists and audiences forget withpleasure those artistic inventions which merely served as means forthe creation of that new-born thing ... The neo-realist school hastaken a great step forward. It has forsworn vanity to reach the trueaim of cinema: to express reality.


5/49

Neorealism: major directros and their

films

LUCHINO VISCONTI: Ossessione (1942), La Terratrema (1948)

ROBERTO ROSSELLINI: Roma, citta aperta (1945),

Paisa (1946), Germania anno zero (1947) VITTORIO DE SICA: Sciusci (1946) Ladri di

biciclette (1948), Umberto D (1952)

ALBERTO LATTUDA: Senza piet (1948)

PIETRO GERMI: In nome delle legge (1949) GIUSEPPE DE SANTIS: Riso amaro (1948)


6/49

Neorealismo rosa

ROBERTO CASTELLANI: Sotto il sole diRoma (1948), Due soldi di speranza (1952)

LUIGI COMENCINI: Pane, amore e fantasia

(1953), Pane, amore e gelosia (1954) DINO RISI: Pane, amore e ... (1955), Poveri

ma belli(1954)


7/49

Toward new cinema (1950s)

ROBERTO ROSSELLINI: Stromboli(1949),Viaggio in Italia (1953)

MICHELANGELO ANTONIONI: Le Amiche

(1955), Il Grido (1957) FEDERICO FELLINI: Lo Sceicco bianco

(1952), I Vitelloni(1953), La Strada (1954), Il

Bidone (1955)


8/49

The golden era of Italian cinema

PIETRO GERMI: Divorzo all'italiana (1961) LUCHINO VISCONTI: Rocco e i suoi fratelli(1960), Il Gattopardo

(1963) FEDERICO FELLINI: La Dolce vita (1960), Otto e mezzo (1963),

Satyricon (1970), Roma (1972) MICHELANGELO ANTONIONI: LAvventura (1960), La Notte (1961),

LEclisse (1962), Il Deserto rosso (1964) ERMANO OLMI: Il posto (1961) PIER PAOLO PASOLINI:Accattone (1959), Il Vangelosecondo

Matteo (1964), Ucellacci e ucellini(1966), Edipo re (1967), Teorema(1968)

FRANSCESCO ROSI: Salvatore Giuliano (1962), Le Mani sulla citta(1963) BERNARDO BERTOLUCCI: Prima della rivoluzione (1964), La

Strategia del ragno (1970), Il Conformista (1970)


9/49

Characteristic features of Italian political

films in the 60s and 70s

Emphasis on subjectivity

Open plot

The structure of the film as a part of itsmessage

Revolutionary political and social content


10/49

French cinema of quality

REN CLMENT: La Bataille du rail(1946)Jeux interdits (1952)

JACQUES DELANNOY: La Symphonie

pastorale (1946) ANDR CAYATTE: Justice est faite (1950),

Nous sommes tous des assassins (1952)

CLAUDE AUTANT-LARA: Le Diable au corps(1947), LAuberge rouge (1954), Le Rouge etle noir(1954)


11/49

French 50s masters

MAX OPHULS: La Ronde (1950), Le Plaisir(1952), Lola Monts (1955) JACQUES BECKER: Casque d'or(1952), Le

Trou (1960) ROBERT BRESSON: Le Journal d'un cur

de campagne (1950), Un condamn a morts'est chapp (1956), Pickpocket(1959)Jean d'Arch (1961)

JACQUES, TATI: Jour de fte (1949), LesVacances de monsieur Hulot(1953), MonOncle (1958), Playtime (1967)


12/49

Anticipations of the New Wave in writing

ALEXANDER ASTRUC: Naissance dunenouvelle avant-garde camra-stylo

ANDR BAZIN & JACQUES DONIOL-VALCROZE: Les Cahiers du Cinma(periodical founded in 1951)

FRANOISE TRUFFAUT: "Une certainetendance du cinema francais" (1954)


13/49

Rive gauche

AGNES VARDA: Clo de cinq sept(1958)

JACQUES DEMY: Lola (1961), Les Parapluies deCherbourg(1964)

ALAIN RESNAIS: Hiroshima mon amour(1959),LAnne dernire Marienbad(1961), La Guerreest finie (1966)

ALAIN ROBBE-GRILLET: Trans-Europ-Express

(1966), L'Eden et aprs (1970) CHRIS MARKER: Lettre de Sibrie (1958), La Jte

(1962), Le Jolie mai(1962)


14/49

Nouvelle vague

CLAUDE CHABROL: Le Beau Serge (1958),LesCousins (1959), Les Bonnes femmes (1960) ERIC ROHMER: Le Signe du lion (1959), La

Collectionneuse (1967), Ma nuit Chez Maud(1969),La Femme de laviateur(1981)

JACQUES RIVETTE: Paris nous appartient(1960),Suzanne Simonin, la religieuse de Diderot(1965),Lamour fou (1968), Out One (1970)

FRANOISE TRUFFAUT Les Quatre cent coups(1959), Jules et Jim (1962)

JEAN-LUC GODARD:A bout de souffle (1959),Pierrot le fou (1965), Le Gai savoir(1968)


15/49

Few other French filmmakers

ROGER VADIM: Et dieu cra la fmme(1956)

LOUIS MALLE: Ascenseur pour l'chafaud

(1958), Les Amants (1958), Le Feu follet(1963)

JEAN-PIERRE MELVILLE: Le Silence de la

mer(1963), Le Samourai(1967), LArmedes ombres (1969), Le Cercle rouge (1970)


16/49

400 what?

Faire les quatre cent coups - to get into a lot of trouble, be areal troublemaker.

The title, Les quatre cent coups is literally translated as The 400Blows; however, since it's an idiom, a direct translation isimperfect. The phrase loosely means "Raising Hell", and, while

that's not an English interpretation, it's a reasonableapproximation. The 400 Blows sounds like a movie aboutviolence and abuse, or (if you're thinking in sexual terms)something salacious. When the film opened in the late '50s, morethan a few viewers were treated to an entirely different

experience from what they expected. (A widely circulated,possibly apocryphal story says that the Weinstein brothersattended this movie expecting a sex flick. They were soastounded by what they saw that their entire perspective oncinema changed, eventually leading them to found Miramax.)


17/49

England after the war

LESLIE ARLISS: The Wicked Lady1945 LAURENCE OLIVIER: Henry V(1944), Hamlet(1948) ja Richard

III(1955) DAVID LEAN: Brief Encounter(1945), Great Expectations

(1946), Oliver Twist(1947) ALBERTO CAVALCANTI: They Made Me a Fugitive (1947) CAROL REED: Odd Man Out(1947), The Third Man (1949), The

Man Between (1953) JOHN and ROY BOULTING: Brighton Rock(1947), The Magic

Box(1951), Lucky Jim (1956), I'm All Right, Jack(1959)

LEWIS GILBERT: Emergency Call(1952) BASIL DEARDEN: The Blue Lamp (1950), The Victim (1961)


18/49

Ealing-studios

CHARLES CRICHTON: The Lavender HillMob (1951)

ALEXANDER MACKENDRICK: Whisky

Galore (1949), The Man in the White Suit(1951), The Lady Killers (1955)

HENRY CORNELIUS: Passport to Pimlico(1948)

ROBERT HAMER: Kind Hearts and Coronets(1949), Father Brown (1954)


19/49

Other popular films

GERALD THOMAS Carry on Sergeant(1958),Carry on Nurse (1959) ... Carry on Doctor(1968)

RALPH THOMAS Doctor in the House (1954),

Doctor at Sea (1955), Doctor at Large (1957) TERENCE FISHER The Curse of Frankenstein

(1956), Dracula (1958) , The Hound of Baskervilles(1959) The Mummy(1959).

VAL GUEST The Quartemass Experiment(1955),Quartemass II the enemy from space (1957)


20/49

New Cinema

JACK CLAYTON: Room at the Top (1959),Look Back in Anger(1959)

TONY RICHARDSON: The Entertainer

(1960), The Loneliness of the Long DistanceRunner(1962)

KAREL REISZ: Saturday Night and SundayMorning(1960)

JOHN SCHLESINGER:A Kind of Loving(1962), Billy Liar(1963)


21/49

Swinging sixties

JOHN SCHLESINGER: Darling(1965)

RICHARD LESTER:A Hard Days Night(1964), Help (1965)

TONY RICHARDSON: Tom Jones (1963),Charge of the Light Brigade (1968)

LINDSAY ANDERSON: If ... (1968), O Lucky

Man!


22/49

Foreign directors in Britain

JOSEPH LOSEY: The Servant(1963),Accident (1967)

MICHELANGELO ANTONIONI: Blowup

(1966) ROMAN POLANSKI: Repulsion (1965), Cul

de sac(1966)

STANLEY KUBRICK:A Clockwork Orange(1971)


23/49

The golden era of Italian cinema

PIETRO GERMI: Divorzo all'italiana (1961) LUCHINO VISCONTI: Rocco e i suoi fratelli(1960), Il Gattopardo

(1963) FEDERICO FELLINI: La Dolce vita (1960), Otto e mezzo (1963),

Satyricon (1970), Roma (1972) MICHELANGELO ANTONIONI: LAvventura (1960), La Notte (1961),

LEclisse (1962), Il Deserto rosso (1964) ERMANO OLMI: Il posto (1961) PIER PAOLO PASOLINI:Accattone (1959), Il Vangelosecondo

Matteo (1964), Ucellacci e ucellini(1966), Edipo re (1967), Teorema(1968)

FRANSCESCO ROSI: Salvatore Giuliano (1962), Le Mani sulla citta(1963) BERNARDO BERTOLUCCI: Prima della rivoluzione (1964), La

Strategia del ragno (1970), Il Conformista (1970)


24/49

Characteristic features of Italian political

film in the 60s and 70s

Emphasis on subjectivity

Open plot

The structure of the film as a part of itsmessage

Revolutionary political and social content


25/49

Post-war film in Germany

HANS BURGER: Die Todesmhlen (1945)

WOLFGANG STAUDTE: Die Mrder sindunter uns (1946)

R.A. STEMMLE: Berliner Ballade (1948) ALFRED WEIDENMANN: Canaris (1954)

HELMUT KUTNER: In jenen Tagen (1947),Des Teufels General(1955), Ludwig II(1954)

BERNHARDT WICKI: Die Brcke (1959)


26/49

Young German Cinema

ALEXANDER KLUGE:Abschield von Gestern(1966), Die Artisten in der Zirkuskuppel: ratlos(1968)

VOLKER SCHLNDORF: Der junge Trless(1966)

JEAN-MARIE STRAUB & DANIELLEHUILLET: Chronik der Anna Magdalena Bach(1968).


27/49

Germany in the 70s and 80s

VOLKER SCHLNDORF: Der Fangschuss (1976), Die

Blechtrommel(1980) MARGARETHA VON TROTTA: Die verlorene Ehre der Katarina

Blum (1975), Die bleierne Zeit(1981), Rosa Luxemburg(1986). RAINER WERNER FASSIBINDER: Warnung vor einer heiligen

Nutte,Der Hndler der vier Jahreszeiten (1971), Die Ehe der Maria

Braun, Die dritte Generation, In einem Jahre mit 13 Monen (1979),Berliner Alexanderplatz(1980), Lili Marlene, Lola (1981) WERNER HERZOG Land des Schweigens und der Dunkelheit

(1971),Aguirre, der Zorn Gottes (1972), Jeden fr sich und Gottgegen alle (1974), Herz aus Glas (1977), Fitzcaraldo (1982)

WIM WENDERS: Die Angst des Tormanns beim Elfmeter(1971)Alice in der Stdten (1974), Paris, Texas (1982), Der Himmel berBerlin (1987)

HANS-JRGEN SYBERBERG: Ludwig, Requiem fr einenjungfraulichen Knig(1972), Hitler - ein Film aus Deutschland(1977)


28/49

Eastern Europe after the II World War

Rigorous control by socialist governments inline with Stalinist cultural policy toward theend of 1940s.

Period of liberalization as a part of de-Stalinization in the latter half of 1950s New restrictions implemented after the

Prague Spring in1968 Gradual liberalization in the 1980s The fall of Socialism in 1989


29/49

Evasive strategies (Hendrykowski)

Historicism: national history as irreversiblecatastrophe sometimes treated allegorically or withirony and black humour

Documentation: Fiction film as a tool for social

diagnosis Literary affinities: Adaptations of classical and

contemporary literal works Aesopic film language: Subtle use of metaphors,

symbols, allusions, subtexts Artistic values: Notion of authorial film as an art form

with a mission


30/49

Poland after the war

Production nationalized and organized underFilm Polski

dz Film School 1948

WANDA JAKUBOWASKA: Ostatni etap (1948) ALEXANDER FORD: Ulica Graniczna (1948) JERZY ZARZYCKI: Miasto

nieujarzmione(1950) Reorganization of Film Polski in 1954 Polish School 1954-1963


31/49

New wave in Poland

JERZY KAWALEROWICZ: Pociag(1959), MatkaJoanna od aniow(1961)

ANDRZEJ MUNK: Eroica (1957), Pasaerka (1962)

ANDRZEJ WAJDA: Pokolenie (1955), Kanal(1957),Popii diament(1958) Wszystko na sprzeda (1968),Niewinni czarodzieje (1961) Czowiek z marmuru(1977), Bez znieczulenia (1978)

ROMAN POLANSKI: Nz w wodzie (1962)

JERZY SKOLIMOWSKI: Rysopis (1964), Walkover(1965), Bariera (1966)


32/49

The third Polish cinema

KRZYSZTOF ZANUSSI: Struktura krysztalu (1969),Barwy ochronne (1977) Rok spokjnego sonca (1984)

KRZYSZTOF KISLOWSKI:Amator(1979)Przypadek(1979) Decalog I-X(1989)

RYSZARD BUGAJSKI: Przesuchanie (1982) AGNIESZKA HOLLAND:Aktorzy prowincjonalni

(1980), Bittere Ernte (1985), Europa, Europa (1991)

WALERIAN BOROWCZYK: Goto, Ile damour(1967), Contes immoraux (1974), Dzieje grzechu(1975)


33/49

Czechoslovakia after the War

GUSTAV MACHAT: Kreuzersonata (1926)Erotikon (1929), Ecstase (1932) Nationalization and reorganization of film

industry in 1945 Film Faculty of the Academic Dramatic Arts

(FAMU) - with facilities for puppet andanimation film production

A separate Slovak production system in 1947 JII TRNKA: palek(1947), Sen noci

svatojansk (1958)


34/49

Towards the Prague Spring

TEFAN UHER: Slnko v sieti (1962) VERA CHYTILOVA: Strop, Pytel blech (1962),

Sedmikrsky(1966), Ovoce strom rajskch jme(1967)

MILOS FORMAN: Cern Petr(1963), Lsky jednplavovlsky(1965), Ho, m panenko!(1967)

JAROMIL JIRE: ert(1968) KACHYNA, KAREL: Ucho (1968) JASNY, VOJTECH: Vichni dobi rodci(1968) JIR MENZEL: Ostre sledovan vlaky(1966)


35/49

Hungary

After the war GZA RADVANY: Valahol Eurpban (1947) ZOLTN FABRI: Krhinta (1955)New Wave

ANDRS KOVCS: Nehz emberek(1964),Hideg napok(1966)

MIKLOS JANCS: Szegnylegnyek(1965),

Csillagosok, katonk(1967), Csend s kilts(1968), Fnyes szelek(1969), Mg kr a np(1972), Szerelmem, Elektra (1974)


36/49

Yugoslavia

DUAN MAKAVEJEV: ovek nije tica (1966),WR - Misterije organizma (1967)

EMIR KUSTURICA: Otac na sluzbenom putu

(1985), Dom za vesanje (1988), Underground(1995)


37/49

Soviet Union - Russia

ELDAR RYAZANOV: Carnival Night(1956)

GRIGORI KOZINTSEV: Hamlet(1964) ja King Lear(1972) SERGEI BONDARTSHUK: War and Piece (1965-67) MIHAIL KALATOZOV: Cranes are flying(1957) GEORGI DANELIYA: Walking the Streets of Moscow(1963) MARLEN KHUTSIYEV: July Rain (1966) KIRA MURATOVA: Brief encounters (1968),The Long Farewells (1971) ANDREI MIHALKOV-KONTSHALOVSKI: The First Teacher(1965),AsyasHappiness (1966) ALEXANDER ASKOLDOV: The Commissar (1967) ANDREI TARKOVSKI: Ivans Childhood(1959),Andrei Rubljov(1969),

Solaris (1966), The Mirror(1974) Stalker(1979) VASILY SHUKSHIN: The Red Snowball Bush(1974)

LARISSA SHEPITKO: The Ascent(1977) ELEM KLIMOV:Agony(1975), Go and See (1985)


38/49

Soviet Union - other states

SERGEI PARADZANOV: Shadows of ForgottenAncestors (1964), The Colour of Pomegranates(1969), The Legend of the Suram Fortress

(1986) TENGIS ABULADZE: The Plea (1967),

Repentence (1984)

OTAR JOSELIAN: April(1961), The FallingLeaves (1968)


39/49

Japan after the war TADASHI IMAI: Okinawas Lilies (1953)

KON ICHIKAWA: Burmese Harp (1956),An ActorsRevenge (1963) AKIRA KUROSAWA: Rashomon (1950), The Idiot,

(1951), The Seven Samurai(1957) KENJI MIZOGUCHI: Diary of Oharu (1952), Tales of

Ugetsu (1953) YASUJIRO OZU: Tokio Story(1953), Early Spring

(1956), Late Autumn (1956),An Autumn Afternoon(1962)

NAGISA OSHIMA: Cruel Story of Youth(1960), Death by Hanging (1968), The Realm of theSenses (1976)

MASAKI KOBAYASHI: Barefoot through Hell (1959),Seppuku (1962), Kwaidan (1964)


40/49

India

DHUNDIRAJ GOVIND PHALKE: Raja Harischandra(1913)

P.C. BARUA: Devdas (1935), Mukti(1937) V. DAMLEM & S. FATEHLAL: Sant Tukaram (1936) K.A: ABBAS: Dharti Ke Lal(1946) RAJ KAPOOR:Awara (1951), Shri 420(1955) SATYAJIT RAY: Pathe Panchali(1955),Apajarito

(1957), Parash Pathar(1958)

BIMAL ROY: Do Bigha Zameen (1953) MRINAL SEN: Interview(1971), Calcutta 71 (1972)


41/49

Indian cinema has been inspired by

Ramayana and Mahabharata Classical indian theatre Popular theatre (partly derived from classical

theatre) 19th century Parsi theatre Hollywood MTV

K. Moti Gokulsingi &Wimal Dissanayake


42/49

Contemporary Indian Cinema

PRAKASH JHA: The Death Sentence: MrityuDand(1997)

ANESS BAZMEE: Pyaar To Hona Hi Tha

(1998) SANJAY LEELA BHANSALI: Devdas (2003)

MIRA NAIR: Monsoon Wedding(2004)


43/49

Chinese cinema

HUI XI (tuottaja): Oopiumluolan vrin kohdellut kummitukset(1916?)

MINGXING (tuottajayhti): Hedelmmyyjn romanssi (1922) JUNLI ZHENG: Joki joka virtaa itn (1947) SUN YUN: Wu Xunin elm (1950) WU TIANMING: Elm (1984) LU XIOYA: Tytt punaisessa (1984?) CHEN BEICHEN: Sillan alla (1984?) ZHANG JUNZHOA: Yksi ja kahdeksan (1984)

CHEN KAIGE: Keltainen maa (1985), Suuri paraati (1985),Kuninkaan lapset (1988), Hyvstit Jalkavaimolle (1993) ZHANG YIMOU: Punainen pelto (1988), Ju dou (1990),

Punainen lyhty (1991)


44/49

Hong Kong and Taiwan

KING HU: A Touch of Zen (1971) TSUI HARK:All the Wrong Clues (for the

Right Solution) (1981)

JOHN WOO: A Better Tomorrow(1986),Hard Boiled(1992)

HOU HSIAO-HSIEN: His Sons Big Doll(1983),A Time to Live and a Time to Die(1985) City of Sadness (1989)


45/49

New Corean Cinema

JE-GYU KANG: Shiri(1999)

CHAN-WOOK PARK: Joint Security Area(2000)

KIM KI-DUK: The Birdcage Inn (1998), The Isle(2000), Spring, Summer, Fall, Winter... andSpring(2003), 3-iron (2004)


46/49

Cinema in the Arabic world - beginnings

Tunisia ALBERT SHAMAMA [CHIKLY]: Zahra (1922),Ain

al-Gheza (1922)Egypt

MOHAMED BAYOMI:Al bash kateb (1922) ISTRAPHANE ROSTI & WEDAD ORFI: Laila (1927) IBRAHAM LAMA: Qubla fil-Sahara (1927) MARIO VOLPI:Anshudat al-fuad(1932)

Lebanon JULIO DE BUCCI & KARIM BUSTANY: Bayn

hayekel Baalbek(1935)


47/49

Modern Arab CinemaEgypt

YOUSSEF CHAHINE: Bad el hadid(1958),Al-nasirSalah al-din (1963),Al- usfur(1973),Al-massir(1998)Lebanon

HEINY SROUR: Kafr Kassem (1974), Beirut al-liqa

(1982) Leila wal-dhiab (1984)Iraq SHUKRY JAMIL: Clash of loyalties (1983)Tunis

FERID BOUGHEDIR: Halfaouine (1990), Un t LaGoulette / Halk-el-wad(1995)

MOUFIDA TLATLIN: Samt el qusur(1994), La Saisondes hommes (2000)


48/49

Iran

AVANES OHANIAN:Abi va Rabi(1930) ARDESHIR IRANI: Dokhtar-e Lor(1933)

ESMAIL KUSHAN: Tufan-e zendegi(1948)

MOHSEN MAKHMALBAF: Gabbeh (1996)Sokout(1998)

ABBAS KIAROSTAMI: Khane-ye doustkodjast? (1987), Zendegi va digar(1992),Ta'm e guilass (1997)


49/49

New Cinemas in Latin America

Brazil

NELSON PEREIRA DOS SANTOS: Vidas secas(1963), O amuleto de Ogum (1974)

CARLOS DIEGUES: Ganga Zumba (1963) GLAUBER ROCHA:Antonio das Mortes (1969)

Cuba

TOMS GUITIRREZ ALEA: Memorias delsusbdesarollo (1968), Muerte de un burocrate(1966), La ltima cena (1976)

World Film History II 3. 2010

Documents

Transcript of World Film History II 3. 2010