Notes
The following material is from Wikipedia.
1965-1969: New Waves – Sweep Around the World.
- Ashes and Diamonds (1958) dir. Andrzej Wajda
- Polish film
- “rebel with a cause”
- “wellsian, expressionist, full of symbols of the world turned upside down”
- uses a lot of symbolism
- Two Men and a Wardrobe (1958) (introduced in Episode 4) dir. Roman Polanski
- cuts to rhythm of music
- Hamlet (1948) dir. Laurence Olivier
- Knife in the Water (1962) dir. Roman Polanski
- one of most claustrophobic films ever made
- “art for art sake”
- modernism
- wasn’t socialist enough
- The Fearless Vampire Killers (1967) dir. Roman Polanski
- The Hand (1965) dir. Jiří Trnka
- animated film
- “hauntingly symbolic”
- about a haunted life
- The Fireman’s Ball (1967) dir. Miloš Forman
- Forman saw life as comedic
- filmed without gloss, almost like a documentary
- Daisies (1966) dir. Věra Chytilová
- most innovative director in Czechoslovakia
- trippy, like the Lumiere brothers on acid
- themes of pop art
- when Soviet Union clamped down on Czechoslovakia in 1968 Chytilova was banned from working for 6 years because of her modernism
- The Red and the White (1968) dir. Miklós Jancsó
- Hungarian film, made during innovative Golden Age
- used tracking shots to create tension, “a sense of breath being held”
- “form echoing content”
- used long takes to evoke suffering
- Une journée d’Andrei Arsenevitch (2000) dir. Chris Marker
- Andrei Rublev (1966) dir. Andrei Tarkovsky
- Tarkovsky was greatest Soviet director of times
- made films about non-material things
- used wide angle lens to balloon space
- film was banned for 6 years because it was religious
- Tarkovsky was greatest Soviet director of times
- The Mirror (1975) dir. Andrei Tarkovsky
- endings were “directors of the absolute”
- Stalker (1979) dir. Andrei Tarkovsky
- scene where girl moves cup
- combines physical and metaphysical
- muted colors, sepia
- background noise made scene feel eerie
- scene where girl moves cup
- Nostalghia (1983) dir. Andrei Tarkovsky
- ending of film
- shot pulls out slowly until viewer can see what was reflected in pond
- ancient, but startlingly new
- remarkable imagery
- ending of film
- Shadows of our Forgotten Ancestors (1965) dir. Sergei Parajanov
- Parajanov loved the music, painting, and folklore before Soviet Union
- poetic cinema
- used foreground often
- “magical and personal visual world”
- “personal, sexual, decadent”
- Parajanov went to jail for 4 years
- Andrei Tarkovsky & Sergei Parajanov – Islands (1988) dir. Levon Grigoryan
- Boy (1969) dir. Nagisa Oshima
- Japanese film
- shows cynicism of modern Japan
- despite its bleak view of life, it was a hit
- In the Realm of the Senses (1976) dir. Nagisa Oshima
- Love and Crime (1969) dir. Teruo Ishii
- The Insect Woman (1963) dir. Shōhei Imamura
- uses insect at metaphor to human beings
- used wide screen space
- blurry foreground, focused deep space
- “economic story telling, brilliant use of wide screen”
- Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
- Nippon Sengoshi – Madamu Onboro No Seikatsu (1970) dir. Shōhei Imamura
- documentary
- Imamura loves women like Onboro
- gutsy themes about sex and lower class
- Ajantrik (1958) dir. Ritwik Ghatak
- heightened emotions
- classic Indian melodrama
- The Cloud-Capped Star (1960) dir. Ritwik Ghatak
- about partition
- visionary scene with train in background shows how family was sliced by history
- Jukti Takko Aar Gappo (1975) dir. Ritwik Ghatak
- experimental with his use of sound
- distorts sound as if in sci-fi movie
- experimental with his use of sound
- Uski Roti (1970) dir. Mani Kaul
- experimental
- paces action rhythmically, slowly
- Black God, White Devil (1964) dir. Glauber Rocha
- climax of movie
- edited like Eisenhower movie
- “violence is normal when people are starving”
- combined innovative film style with anti-colonialist ideals
- climax of movie
- I Am Cuba (1964) dir. Mikhail Kalatozov
- rejected by many cuban filmmakers
- believes in beauty of a shot, not minimalist
- The House Is Black (1963) (introduced in Episode 2) dir. Forugh Farrokhzad
- Iranian film
- directed by a woman
- moving sincerity
- uses sound to compel editing
- expressionist
- Black Girl (1966) dir. Ousmane Sembène
- West African film
- “black Africa’s first innovative film”
- black and white
- some parts filmed like a western
- Saturday Night and Sunday Morning (1960) dir. Karel Reisz
- set in working class midlands of England
- black and white
- girl needing an abortion, seemed to be a new idea
- Kes (1969) dir. Ken Loach
- honest and direct film style
- naturalistic light, naturalist style
- no overbearing camera prescense
- connection between film style and politics
- A Hard Day’s Night (1964) dir. Richard Lester
- starts conventionally, shifts into showing how joyous youth are
- imagery in film is common in music videos today
- very liberating style
- Primary (1960) dir. Robert Drew
- new type of documentary
- “fly in the wall”
- modern, free
- Shadows (1959) dir. John Cassavetes
- followed 3 fictional African American siblings, influenced by Primary and neorealism
- “new American cinema”
- direct cinema
- Psycho (1960) dir. Alfred Hitchcock
- black and white
- film was an experiment
- iconic scene: woman gets stabbed in the shower
- 70 different camera angles, 45 seconds of film
- 66 Scenes from America (1982) dir. Jørgen Leth
- “blankness of the here and now”
- Blow Job (1963) dir. Andy Warhol
- Who’s Afraid of Virginia Woolf? (1966) dir. Mike Nichols
- helped change the look of Hollywood studio movies
- harsh lighting, black and white, smudged make up, daringly realistic
- Medium Cool (1969) dir. Haskell Wexler
- pushed the relationship between documentary and fictional cinema as far as it would go
- end of film, no edits more than 4 frames
- made old Hollywood look outdated
- Easy Rider (1969) dir. Dennis Hopper
- defined its era
- rock soundtrack, long lenses, windblown hair, open roads, etc.
- mocked around with grammar of editing
- Making “The Shining” (1980) dir. Vivian Kubrick
- 2001: A Space Odyssey (1968) (introduced in Episode 1) dir. Stanley Kubrick
- famous for its editing cutting out time
- mind altering experiences pictured abstractly
- modernist
- Der Sieger (1921) dir. Walter Ruttmann