Aug 14, 2023
LECTURE 2
Expressionism
Reality is distorted
Artist’s personal feeling
From Northern Europe
How did it begin?
Effects of WWI
Foreign film banned
Horror, insecurity, and paranoia
From German romanticism
First appeared in poetry and theater
“The world is a laboratory” by Gottfried Benn
Characteristics of german expressionist theater
Distorted and exaggerated sets, props, and costumes
Unease and anxiety
Symbolism- character might be represented by an animal or object or a particular color
Non-linear plot
Confusion and disorientation
Fragmented nature of the human experience
The threepenny opera (1928) by bertolt brecht
Characteristics of german expressionism
The subjective view of the world
Visualize the country’s collective anxiety through distorted and nightmarish imagery
Little interest in being aesthetically pleasing
Popular in film 10 years after WWI
Cabinet of Dr. Caligari and Metropolis
Golden Age (1919–1933)
After WWI German film industry was supported by the Weimar Republic
Extensive film resources and expansive studios
Center for filmmaking after WWI
Characteristics of german expressionist film
Distorted lines (skewed physical realities)
Distorted lens
Extreme camera angles
Bizarre lighting
Odd sound effect
Fragmented editing
High angles
Deep shadows/chiaroscuro lighting
Extreme camera tilting
Impossible sets
Expressionist filmmakers
Robert Weine Fritz Lang
Paul Wagner FW Murnau
Icons Of German Expressionism
Distrust in authoritarian regimes, traumas as wwi soldiers
nosferatu, metropolis
German expressionism now
Conclusion
A precursor to and inspiration for film noir
In the Soviet movement – the montage
Many filmmakers today incorporate and utilize the dark angular lighting
Aug 21, 2023
LECTURE 3
Italian Neorealism
Romanticism (individual and emotion)
↙ ↘
Expressionism Realism (abandoned individual and emotion for truth, anti-romantic)
(emotion over machine) ↘
Neo-Realism
Influenced by Modernism ⇆ Against of
(industrialism, individualism, expressionism, absurdity, symbolism) * Fascism
* Idealism (mind constructs reality), opposite of idealism Objectivism (freedom, achievement, purpose, self-esteem, reason, rationality, productiveness, pride)
Before Realism
Realism was a reaction to Romanticism (late 18th to mid 19th century)
Romanticism - individual standing against the natural world with nothing but emotions to guide him or her.
THE GREAT PAINTING: Wanderer Above the Sea of Fog
Realism was an anti-romantic movement
Realism
Emphasizes ‘reality’
Aim was to
Realism was belief in the existence of objective reality
In literature, realism aimed to represent life as it was lived by ordinary people, often in mundane settings
Not an interpretation of what it observed but to make the subject of the text known to the reader
20th century, realism became popular because of the increased use of the camera and moving film
Neorealism reacted against the second world war (1939-1945) and fascism
Camera as invention
Neorealism set it against idealism
The world is nothing more than…
Neo-realism - key takeaways
Ordinary human life
War
Anti-romantic movement
Characteristics of Fascism
Ideology
Subordination of the state
Myth of rebirth
Militarism
Sexism
Disdain for human rights
Religion and government are intertwined
Disdain for intellectuals and the arts
Fraudulent elections
Control of mass media
Labor power is suppressed
Left wing vs right wing
read comrade Shibdas Ghosh
Italian neorealism in the film
“The rehabilitation of an entire culture and people through cinema” – Martin Scorsese
Italian neorealism is a new realism that focused on the common problems and not with revolution or any political based films and was started in 1942 and came to an end in 1951.
Characteristics
Noticeable long take style
A long take is a single shot with a much longer duration designed to appear to viewers as a single, uninterpreted take incorporating movement of the camera via dolly or otherwise
Sometimes known as a “oner”, a long take is
Poor neighborhood and readymade location
The film that showed the situation of the common in the refugee camps to the fascist governance and the disaster brought in by the war
Was blend with marxist humanism that brought forward those raw emotions of both artist and the audience
Films avoided editing and lighting of the location
The dialogue of the film focused on conversational script and not the scripted dialogue
Since this movement was also an opposition to hollywood and its happy ending films, realist directors made it as a point not to make films with happy ending
Till day neorealist films are considered as documentary style films
Looking at where the genre began
In 1937, Benito Mussolini founded cinecittà, a massive studio that operated under the slogan “the cinema is the strongest weapon.”
The purpose of the studio was to produce propaganda films for the Italian state
But during the war, it was blasted with bombs
After the war filmmakers had to find a new way to produce their stories
Use of non-professional actors
Location shooting
Improvised dialog
Lack of moral censorship
Low budget
Some of the best films
Bicycle thief
Riso amaro
Bellissima
Miracle in Milan
The flower of the St. Francis
War Trilogy
(Rome open city, Parisan, Germany year Zero)
1945: Rome Open City - How Neo-Realism Shows You The World
Start and end of Neorealism
With American films taking over the interest of the audience in Italy and other European nations as the Hollywood films portrayed America as paradise.
The import of more American movies and strict restrictions of Italian directors by the Fascist Government, during 1925 the directors started going to the streets where they filmed the plight of refugees in the camp with sets & props and used the readymade props that came from World War II and the unprofessional actors who were cast on the film brought forward the Italian cinema to the world platform.
The people in Italy preferred the Hollywood touch in Italian movies or the Hollywood movies themselves after the post-war. The change of taste over a period of a few years among the home audience made the realist directors in an uneasy situation.
Some moved to Hollywood to make neo-realist American films.
Aug 28, 2023
LECTURE 4
French New Wave
Film movement
Late 1950s
Critic vs. director
Director’s control
Improvised stories
Anti-Hollywood
Independent filmmaking
History of France
A Super Quick History of France
FRENCH REVOLUTION
What caused the French Revolution? - Tom Mullaney
Social inequality
French society was divided into three estates
The clergy and nobility had privileges and exemption from taxes
The commoners or third estate, burdened with tax and social injustice
Financial crisis
Extravagant spending by the monarchy
Involvement in costly wars
Taxation system
Country debt
Englighentemnet idea
Individual rights
Democracy
Role of government and citizens
Demand of greater political participation
End to absolutism
Ineffectual leadership
King Louis Xvi’s weak leadership
Food shortages
Poor harvests
Rising food price
Widespread famine
Tensions and unrest
Influence of American Revolution
The success of American Revolution against British colonial rule inspired French citizens
Liberty and republicanism
Rising unrest
Social unrest
Economic hardship
Enlightenment ideas vs state in 1789
This marked the beginning of the revolution
France After WW2
(September 1, 1939–September 2, 1945)
French youth influence on the Fifth Republic under president Charles de Gaulle
Workers from home and abroad reshaped urban demographics
Colonial independence movements emerged globally after WWII
Decolonization of French and Belgian rule
Algeria’s war of for independence impacted France, causing immigration and racism
Film Here They Drown Algerians revealed a 1961 massacre in Paris
Other regions gained independence from French and Belgian rule
Cahier Du Cinéma Journal
Started with critics from Cahiers du Cinema magazine
Highlights the importance of film criticism for industry progression
Andre Bazin Jacques Doniol-Valcroze Joseph-Marie Lo Duca
Characteristics
Rejection of studios
Resource limitations
Directors sought control
Location shooting
Handheld cameras
Natural lights
Live sound
Narrative departure
Unlike Hollywood
Actor-audience interaction
Jump cuts
Improvised stories
Complex ideas
Expressing director’s emotions and thoughts
Intellectual theme
Exploring existentialism and life’s absurdities
Films encouraged viewers to think
Employing long takes for reflection
Auteur Theory
VI Pudovkin discussed the director's control: "The director builds up his own filmic time and filmic space."
first provided by Francois Traufot in 1969
Later, it was repopularised by Peter Bogdanovich
Andrew Sarris provided three components of auteur theory:
Interior meaning:
Personal signature
Technical Competence
Anti-feministic commercial films from Love Ranjan and Raihan Rafi
Directors And Films
Birth of the French auteurs
Directors, not actors, are leading factors
Split into two groups: right bank and left bank
Cahier Du Cinema was right bank: Godard, truffout, Bazin
The right bank was commercial, experimental, documentary makers (everyone outside of CDS)
Francois Truffaut - 400 Blows
Jean Luc Godard - Breathless,
Alan Resnais - Hiroshima Mon Amour
Continued Legacy
Independent filmmakers
Mixing realism and irony in unique ways
Unclear endings with a social message
Make statements and inspire global filmmakers
Sep 18, 2023
LECTURE 6
Soviet and Post-communist cinema
Broadwell
Genres in soviet film
Melodrama mafia thriller nartionalst epic
Soviet vs. USSR vs. Russia
Soviet
Soviet Union was the term used instead of USSR (Union of Soviet Socialist Republics)
the Soviet Union is Russia because it's the largest
15 countries gained independence on 26 December 1991.
Communism
The five communist countries - Cuba, Laos, Vietnam, north Korea, china
Postcommunism in Russia
The Fall of Communism: Crash Course European History #47
https://youtu.be/ODSWzanhr4?si-Nre9xjzC80wcpmLa
Russian Capitalism After Communism History
https://youtu.be/uisp3MEWW78?si=pgeQVXTPLMq6vnu2
Russian Capitalism After Communism History
https://youtu.be/uisp3MEWW78?si=pgeQVXTPLMq6vnu2
Russia's influence over former Soviet republics is starting to fade DW News
https://youtu.be/kt-rW86041g7si-EtGy_QcIgraNop85
Soviet and post-communism cinema
What is Soviet Montage Theory?
a film movement that took place in Soviet Russia during the 1910s. 20s and into the early 30's founded by Lev Kuleshov at the Moscow Film School (Heckman, 2020).
Kuleshov effect, a theory that suggested that juxtaposing two shots could convey more meaning than a single shot alone.
What is Montage?
The term 'montage' originated in French
refers to combining individual pieces like film, music, or images into a unified whole.
significant element due to
the historical context of the Russian Revolution and
the scarcity of film stock.
Birth of Montage in Russian Context
All-Russian State University of Cinematography named after 5. A. Gerasimov (aka. VGIK)
The Moscow Film School (VGIK) was established in 1919 during the Russian Revolution, and one of its key figures, Lev Kuleshov, began experimenting with film editing in 1920.
1917: Russia's Two Revolutions
Bolsheviks and Mensheviks
Divisions of Russian Social Democratic Labor Party
-Led by Lenin
-Professional revolutionaries in centralized party Hiendly of control and responsibility
Mensheviks minority -Democratic organization
Broader role for membership
"Evolutionary approach to development of socialism -Advocated cooperation with bourgeois parties against autocratic rule
After Vladimir Lenin and the Bolsheviks took control of the Russian government in 1923, the country underwent significant social and economic changes, making film production challenging.
Contemporary artistic alliances
Soviet Avant-garde = French cubism + Italian Futurism
Avant-garde Soviet art in the early 1900s was influenced by Russian Futurism, inspired by French cubism and Italian Futurism.
Russian Futurists believed in replacing traditional art with a new form that aligned with the modern machine age.
depict everyday life in a shocking manner.
marked the birth of Russian Futurism in 1912
Any art that rejects the established norms is avant-garde art
Avant-garde art can be said to begin in the 1850s till the final years of the abstract expressionist era in the 1960s. Avant-garde is a French word that literally.
translates to vanguard" or "advance guard".
redefining our notions of what is acceptable and what is not, aberration of art against the established order of things
innovative, experimental, progressively radical, daring, rebellion
Against status quo
What is the Avant-Garde? Art Movements & Styles
European Avant-garde in 7 Minutes: Non-Western Art Influence
1914 to 1917 marked the beginning of the montage principle in Russian avant-garde art.
Filmmaker Denis Kaufman, later known as Dziga Vertov, experimented with sound recording and montage techniques
In 1917, avant-garde artists supported Bolsheviks during the Russian Revolution, promoting their art movements like Cubism and Futurism.
this collaboration led to. Futurism became the official art style of the Soviet Union.
Some criticized Futurism for being elitist and detached from the masses.
The Futurists split into two groups:
one, led by Tatlin,
believed in using industrial materials • making art accessible to everyone
led by Malevich,
non-objective art
non-ideological art
LEF and the Constructivists in 1920s Soviet Art
Let’s define Constructivism and LEF
Left Front of the Arts
The first two issues of the journal. First issue 1923; 100 years ago Final issue 1929: 94 years ago Country Soviet Union Language Russian
a widely ranging association of avant-garde writers, photographers, critics, and designers in the Soviet Union.
The journal's objective is to "re-examine the - ideology and practices of so-called leftist art and to abandon individualism to increase art's value for developing communism.
Constructivism
Constructivism is a modern art movement that emerged in Russia during the early 20th century influenced by the Russian Revolution and Marxist revolutionary theory. which placed an emphasis on creative autonomy, individuality, and self-expression, focused on the objective truth of the physical world rather than relying on subjective emotions or imagination.
Combination of painting, sculpture, architecture, and design into one unified artwork revolutionized the approach to creativity and abstraction
LEF and the Constructivists in 1920s Soviet Art
Industrial decor and Biomechanic acting
1920 Constructivism emerged in the Soviet Union inspired by Tatlin's work
Constructivism in posters, books, furniture, clothing, graphics, fabric prints, and street decorations
•Created socially useful and revolutionary products industrial decor and biomechanic acting into the
theater The most radical Constructivists formed the LEF group and argued for the destruction of traditional art forms in their journal, Lef
BUREAUCRACY VS. THE AVANT-GARDE
Montage style declined around 1930 due to various factors related to the broader context of Soviet artistic activity.
Pressure from Orthodox Artists and Bureaucracy
Mid 1920s The "Discussion Exhibit" in Moscow_conservative and Constructivist artists were pitted against each other Constructivists were defeated.
Orthodox artists, who favored more traditional and easily understandable art, started attacking avant-garde the LEF (Left Front of the Arts) group.
Political Changes
By 1929, Joseph Stalin had consolidated power, and his first Five-Year Plan was underway.
"Heroic Communism" replaced by rigid bureaucratic control
Censorship and Suppression
control over artistic activities
Censorship became stricter.
The Bathhouse (1929) a play by Vladimir Mayakovski was rejected by the theatre censorship committee
Alexander Dovzhenko's film Earth (1999) was criticized as "counter-revolutionary" and "defeatist."
Montage replaced by Socialist realism (1930) The official adoption of "Socialist realism" as the preferred artistic style by the Soviet Party in 1932 marked the end of montage as it was considered "formalism."
Government-Supported Films: Only adhered to the principles of Socialist realism.
Socialist Realism - Soviet Art From the Avant-Garde to Stalin
GENRES IN SOVIET FILM
Melodrama
The 1920s–1930s melodrama was a film genre
Competed with documentaries, ethnographic shorts, and historic epics
Features of melodrama in soviet film
Social and national integration
Served to address the challenges of social and national integration
Tapped into the frustrations and anxieties caused by rapid industrialization
Erosion of traditional rural; life and values
Ideological Diversity
Melodrama in pre-world was ii central and eastern European cinema could serve different ideological purposes including
Right-wing nationalism
Populist fascism, and
Protelatioan socialism
Types of melodrama
Sentimental stories about familial relations, thwarted love, and forced marriages among military and bourgeois elites, and
Pitiful tales about the downfall of social outcasts
Decline of melodrama
Advent of social realism
Dominance of communist regimes in the post World War II era
Conseiderd bourgeoise and subversive
Communist authorities favored imported melodramas that portrayed capitalism evils as propaganda
Revival of melodrama
Post communist Eastern European cinema forced on male melodrama
Explored personal and emotional themes against the backdrop of societal change
Mariginalised female protagonist
Female protagonist serve as catalysts for male character transformations
Redefined traditional masculinities
Nostalgia and stability
A nostalgia for stability and a return to traditional values in times of uncertainty
Mafia thriller
The Mafiosi thriller genre in postcommunist cinema particularly in Poland and russia
Gender roles and conservatism
Construction of gender roles is conservative
Male protagonists and use female characters sparingly
Reflects the continuation of tradition; gender roles in post communist society
Male protagonists and their struggles
Centers around male heroes who to restore justice in a lawless port communist world
The hero's journey is seen as a projection of repressed desires and frustrations accumulated during the communist era
Women are often prorated as beautiful but treacherous
Genre evolution
Context of post communism
Draws elements from Hollywood gangster films, noir thrillers, and vigilante movies
Avoiding the emulation of Hollywood-style action sequences and focusing on character-driven narratives
Focus on the struggle of a lone hero against forces of evil, often involving former communist secret service members turned mafiosi as the villains
Dviison of characters
Dividing characters into friends and enemies of the hero
The enemies are typically portrayed as former communist officials turned Mafiosi
While friend are marginalised individuals victimised by the mafia
Themes of betrayal
Need to avenge or forgive acts of betrayal
Reflecting the lingering feelings of guilt and nostalgia
Ethical ambiguity
Filmmakers are torn between repressing heroes as greedy villains or as complex figures perhaps even contemporary Robin Hoods
This ambiguity reflects the confusion of values in post communist society
The return of the repressed: nationalist epic
Nationalist epic films
Supports the political status quo and often portrays a glorified version of the nation’s history
Favored by authorities in the early 20th century
Historical context
Between the two world wars nationalist epics were particularly popular genre in romanica Poland Bulgaria under communist rule
Post communist resurgence
After the fall of communism, there was a decline in the production of expensive nationals epics
In recent years, there has been a revival of this genre in countries like Poland and Hungary with big budget productions
A reaction to the deep frustrations with the social tensions and shifting cultural norms in the post communist era
It reflects a longing for stability both in terms of national identity and gender representation
Escapist identification
Offer escapism through the portrayal of unproblematic heroes, wise women, and the relation of conflicts in the context of history
They seek to provide stability and long-forgotten collective archetypes to their audience
Despite their regressive tendencies including xenophobia and misogyny these films have received a level of aesthetic lenience from both viewers and critics
Now…
The war in Ukraine and the exit of Western distributors led to shortage of new releases in Russian theatres, resulting in a seven percent reduction in open cinema screens
The covid 19 panademic
Sep 27, 2023
LECTURE 7
Introduction of Brazil and Brazil’s history
History of Brazil
How did Brazil Become a Country?
https://youtu.be/rqT51/U1Jw?si TiMpYHZxSQgfuhuf
Portuguese Colonization:
In 1500, Portuguese explorer Pedro Álvares Cabral claimed Brazil for Portugal.
For over three centuries, it was a Portuguese colony, primarily focused on extracting valuable resources like Brazilwood and sugar.
Independence:
Brazil gained its independence from Portugal in 1822, led by Emperor Pedro I.
This marked the beginning of the Brazilian Empire, which later transitioned into a republic in 1889.
Abolition of Slavery:
Brazil was the last country in the Western Hemisphere to abolish slavery in 1888.
The legacy of the African diaspora and slavery still significantly influence the country's culture and society.
The New Republic (Nova República) in Brazil, marked by the events surrounding
President Tancredo Neves's illness, death and the inauguration of Jose Sarney
Tancredo de Almeida Neves was elected President of the Republic in 1985 but died before taking office.
José Sarney de Araújo Costa 31st president of Brazil from 1985 to 1990
Inauspicious start for both the country and its film industry,
Law 7300, sponsored by Jose Sarney Filho, was passed without discussion or warning, nationalizing the film industry by prohibiting foreign capital involvement in Brazilian cinema.
Ups and Downs
Brazilian cinema had a period of success in the late 1970s, faced a downturn, linked to the national economic crisis (1980), characterized by a high foreign debt and inflation.
the number of theaters decreased,
attendance figures dropped, the quality of films declined.
Rising production costs and shrinking markets
Production sector
Various factors contributed...
high inflation,
crime rates,
competition with TV.
video piracy
decrease in foreign films,
industry's crisis.
flaws in the state-supported model of film production
State intervention in the Brazilian film industry dates to the 1930s, with measures like
the screen quota requiring the compulsory exhibition of Brazilian films in theaters. Over time, the state's role evolved from being a market regulator to an active participant in the industry.
Over time, the state's role evolved from being a market regulator to an active participant in the industry.
INC, EMbrafilmeand Concine
In 1966, the Instituto Nacional do Cinema (INC) was created to provide direct financial support to the film industry, offering various support programs.
In 1969, Embrafilme was established to promote the distribution of Brazilian films in foreign markets and gradually replaced INC's role.
The Concelho Nacional do Cinema (CONCINE) took over INC's legislative role in 1976.
Embrafilme nationalized film
Embrafilme, a Brazilian State-owned company created on September 12, 1969, for production, funding, and distribution of Brazilian movies.
budget came from taxes on profit remittances from foreign film distributors a "contribution for the development of the film industry" (development fee) paid by all existing Brazilian film producers.
Embrafilme began..
Embrafilme began offering low-interest loans to producers for film production, financing a significant portion of national film production between 1970 and 1979.
Initially, financing decisions were made based on technical criteria, but this approach faced criticism for not considering cultural values.
cultural versus commercial films independent versus concentrationist views
created dependencies and tensions within the industry
Exhibition Sector
The antagonism between exhibitors and state-supported film producers dates to the early days of Brazilian cinema when independent distributors separated producers and exhibitors. Exhibitors primarily favored foreign cinema over Brazilian productions.
The implementation of protectionist measures, such as the screen quota for Brazilian films, was crucial for the survival of the Brazilian cinema industry. These measures protected and promoted national cinema.
While protectionist measures were necessary for the existence of Brazilian cinema, they also contributed to a loss of profits for the exhibition sector, leading to the decline of theaters and the overall film industry.
Over the years, the relationship between the state and the exhibition sector steadily worsened. Legal battles and court injunctions became common as exhibition groups contested state policies, including the definition of a "Brazilian film."
Exhibitors' Attempts at Film Production:
In response to compulsory exhibition laws, some exhibition groups formed production companies to make films that met the requirements.
However, this often resulted in the production of low-quality films, including pornography, which further crowded the market.
Legislation and Its Impact:
Brazilian cinematic legislation imposed several requirements on exhibitors, including mandatory exhibition days for Brazilian films, financial contributions, and other obligations.
These requirements, combined with inflated prices for standardized materials, reduced exhibitors' income and led to theater closures, exacerbating the industry's crisis.
The Nova Republica
By the start of the Nova Republica, it was evident that the old state-supported production model was no longer effective, demanding a redefinition of the relationship between cinema and the state.
Sarney-Pimenta Commission:
In response to the crisis, a commission was established to study the situation and make recommendations, including restructuring Embrafilme to separate cultural and commercial activities.
What is the golden age of Brazilian cinema?
Indeed, the period 1908-1912 has been called the bela época, the "golden age" of Brazilian cinema, where production reached as high as 100 short films per year.
After North American businessmen were welcomed to exploit the Brazilian film exhibition market in 1911, foreign films began to take over.
What is Brazilian cinema called?
Cinema Novo rose to prominence while progressive Brazilian Presidents Juscelino Kubitschek and later João Goulart took office and began to influence Brazilian popular culture.
But it was not until 1959 or 1960 that 'Cinema Novo' emerged as a label for the movement.
The Cinema Novo era took place in two phases:
The first phase (1961-1964) was a period of renewal, in which the Cinema Novo artists challenged the older generations' views on what constituted culture in Brazil.
The second phase (1965-1969) was an era where Cinema Novo became institutionalized through government funding
https://indiefilmhustle.com/cinema-novo/
Some Characteristics
use of handheld cameras
natural lighting, and sound.
include music videos in films.
focus on the lives of poor people who live in urban slums
produced by directors who had ties to socialist or communist groups.
Cinema Novo and Third Cinema
Cinema Novo is also known as the Third Cinema in its relationship to the First (documentary) and Second (classic fiction) Cinemas
brought a new critical awareness to Brazilian society through film under the military dictatorship that took power in 1964.
Third Cinema | Video Essay
What is the largest cinema chain in Brazil?
Cinemark is the largest movie theatre chain in Brazil and operates in 27 cities.
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