Movie Movements: Films that Changed the World of Cinema
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Movie Movements: Films That Changed the World of Cinema is a one-stop guide to the major movements that have shaped our sense of what cinema is and can be. It introduces the reader to definitions of the founding concepts in Film Studies such as authorship and genre, technological impacts and the rise of digital cinema, social influences and notions of the avant-garde, and cinema's emergence as a major art form that reflects and shapes the world.
It explores, in concise and clear sections, how major works from the classic French realist La Regle de Jeu to the dazzling animation of Norman McLaren and the memorial documentary of Shoah, were conceived, developed and produced, and eventually received by the public, critics and film history.
Offering a concise overview of a vast and compelling subject, it's a book for both the film enthusiast and the Film Studies student.
Drama, Image, Sound François Truffaut made a very compelling observation about the war-film genre when he said that ‘the effective war film is often theone in which the action begins after the war, when there is nothing but ruins and desolation everywhere: Rossellini’s Germany Year Zero (1947) and, above all, Alain Resnais’ Nuit et brouillard, the greatest film ever made.’38 Rome, Open City transformed familiar still images of war into moving pictures for the Italian audience, and the
doing.’102 Reception and Legacy The film received very positive reviews acknowledging that it went beyond being just a film, becoming an experience in and of itself; a spiritual film about dwelling in a particular moment. This work would sit well with André Bazin and his conception of the filmmaker’s having faith in reality as discussed at the very beginning of the book. The Guardian described the film in relation to paintings, noting that ‘the dark interior images bring to mind the paintings
staged the action on the Odessa Steps, though the event itself had not actually occurred there. To film on the steps, and lend the moment a sense of energy and scale, Eisenstein had a dolly track constructed that ran the length of the steps. Aesthetically, Eisenstein’s tracking shot was notable as Russian cinema had tended not to use a mobile camera in this way previously, and several cameras rolled simultaneously on this politically charged action sequence. The film is justly celebrated for its
the key concerns in this section. FRANCE Jules et Jim (1961) Directed by: François Truffaut Written by: François Truffaut Produced by: François Truffaut and Marcel Berbert Edited by: Claudine Bouche Cinematography: Raoul Coutard Cast: Jeanne Moreau (Catherine), Oskar Werner (Jules), Henri Serre (Jim), Marie Dubois (Thérèse), Vanna Urbino (Gilberte), Sabine Haudepin (Sabine) Synopsis In the early years of the twentieth century, two young men, Jules and Jim, enjoy the good life in
emotionally real the cascade of thought often very humorously presented. This is a free-association kind of movie, a series of riffs on ideas of perception and the sense of the individual in pursuit of worth. The film’s style is its content. It depicts a dream state and, in doing so, attains this quality itself. Existentialism, language, belonging, connections: all comprise streams of thought. Animation creates a contract with its audiences where the agreement is a willingness to create and view