This important Hollywood film movement started in the mid-60’s
This important Hollywood film movement started in the mid-60’s. It was led by an influx of young filmmakers how had studied film history, technique, and theory at schools like NYU and USC. They were heavily influenced by the auteur theory of the French new wave, and American studio’s granted massive control to these young directors. These films embraced the violence and sense of social unrest relevant to the counter culture Vietnam era upheaval, and were aesthetically a merger between Hollywood genre and European art form… films that had morally complex characters whose actions were often not clearly motivated / complex or unresolved plotlines / moody lighting yet still embraced various fundamentals of the particular genres.
2.______ films have a conflicted place in film lore. One the one hand, these films opened the door for black filmmakers who historically had been essentially barred from working in a Hollywood infrastructure suffused with racism. These movies, though low budget, were often quite innovative in their visual style as well, particularly the work of Melvin Van Peebles, who will look at shortly. The black protagonists of these films had agency and goals and were in no way beholden to a white characters. However, these films very often suffered from a host stereotypical portrayals of urban black life, such as rampant drug use, sexism, violence and crime. These films never showed black families living their lives and struggling the way most people do with daily life (like the neo -realists had done). Instead, these stories tended to be stylized crime stories in which no sense of a black cultural identity was presented or celebrated. They tried to make easy money with exploitative sex and violence and therefore failed to challenge the ugly stereotypes of black Americans that have plagued American media for generations.
3.This filmmaker has become one of the most important names in American cinema, though he very much rejected much of Hollywood’s culture throughout his working life. Every film he made since Paths of Glory is considered a great work of cinema that has profoundly altered audience expectations of genre and pacing. His work is most notable for its incredibly distinct, soft flared lighting, revealing tracking shots, very slow but very intense pacing (both in regards to shot length and delivery), moral pessimism, striking intellectualism, and unflinching sexuality and/or violence. Some of his greatest films include A Clockwork Orange, Barry Lyndon, and The Shining.
4.As the new wave of American cinema waned in the mid 70’s, a new, huge budget approach became the norm with the success of 2 films, Jaws and Star Wars. Called _______________ filmmking, these massive special effects films tend to feature over the top action, big name stars, and are geared towards teenage audiences.
5.He is the godfather of American new wave cinema, and is also the director of The Godfather films. Also responsible for other great American classics such as Apocalypse Now and The Conversation, he helped revolutionize American cinema in the 70’s by creating genre films with profound depth of character and visual symbolism.
6.According to episode 13 of The Story of Film, this filmmaker “trained as a graphic designer, he found the martial arts films of the Shaw Brothers too bright eyed and bushy tailed. Young people were sadder than that. Fluorescent light, saturated color, and the landscape of faces together create the beauty of [his] world”. His film’s slow down the time, creating intimate moments of lonely and visual beauty.
7.According to episode 13 of The Story of Film, this film by Claire Denis challenges Jean Luc-Goddard’s notion that “the history of cinema is the history of men photographing women. But in [this film], a woman photographs men. The director, Claire Denis, goes on to compare the ending of her film, where a legionnaire dances alone in a fantasy following his death, to the ending of Ozu’s Late Spring. in that both film’s create a beautiful image to contrast with the sorrow of something ending.
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