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Chapter 9: Cinema in an International Frame

This chapter delves into the evolution of international auteur cinema during the 1950s and 1960s, focusing on the artistic contributions of renowned filmmakers such as Michelangelo Antonioni, Ingmar Bergman, Luis Bunuel, Federico Fellini, and Akira Kurosawa. It examines themes of lovelessness, alienation, and psychological distress portrayed through their films. Additionally, the text explores the impact of notable movements such as Italian Neo-Realism and the French New Wave, highlighting their departure from traditional cinematic conventions and their emphasis on social realities and artistic expression.

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Chapter 9: Cinema in an International Frame

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  1. Chapter 9: Cinema in an International Frame

  2. The International Auteur Cinema • Auteurism • Film is an art • The director as artist • 1950s-1960s • Emergence of ‘art cinema’ centered on key international auteurs • Michelangelo Antonioni • Ingmar Bergman • Luis Bunuel • Federico Fellini • Akira Kurosawa

  3. Michelangelo Antonioni • Theme of lovelessness and alienation among the middle and upper classes • Images that offer precise visual statements of this theme • The Trilogy: • L’avventura • La Notte • L’eclisse

  4. Ingmar Bergman • Intense psychological focus on spiritual and emotional distress • Close collaboration with cinematographers and stock company of actors • The Seventh Seal and Wild Strawberries become classics of the art cinema • The Trilogy: • Through a Glass Darkly • Winter Light • The Silence

  5. Luis Bunuel • Film productions in Mexico, Spain, France, the U.S. • Surealism • Opposition to bourgeois morality • Celebrating anarchy and impulse • Un Chien Andalou – a classic of surrealist film • Film style assaults cinema’s conventions of • Time and space continuity • Narrative logic

  6. Federico Fellini • Turns away from the Italian cinema’s tradition of realism • Emphasizes spectacle, pageantry, and dreams • Radically anti-realistic and theatrical style • La Dolce Vita, 8 ½, Juliet of the Spirits, Amarcord

  7. Akira Kurosawa • Best known for samurai films • A major influence on American films • 1948-1965 – period of peak artistry • Filmmaking tied to Japan’s post-war recovery • Style based on rare combination of elements • Montage editing, camera movement • The long take, static and motionless compositions

  8. New Wave Filmmaking • Film history is marked by periodic ‘new waves’ • Alternative film styles centered on new generations of filmmakers • Italian neo-realism (1940s) • French New Wave (1950s-1960s) • New German Cinema (1970s) • Hong Kong Cinema (1980s)

  9. Italian Neo-Realism • Emerges in opposition to glossy studio filmmaking • Aims to portray contemporary social conditions with focus on the lower classes • Film technique would be simple, direct, unembellished • Ossessione (1943) and Open City (1945) • Tremendous influence and legacy • Defines a fundamental approach to realism in cinema

  10. The French New Wave • Andre Bazin and Cahiers du Cinema • Film criticism and film directing • Francois Truffaut, “A Certain Tendency” • Auteurism • Debut year – 1959 • The 400 Blows (Truffaut) • Breathless (Godard) • Hiroshima Mon Amour (Resnais) • Location shooting, fluid editing, and cinematic self-consciousness

  11. New German Cinema • 1962 Oberhausen manifesto • Call to redefine German cinema and break with existing traditions • State funding of film production stimulates emergence of new auteurs • Fassbinder and Hollywood melodrama • Herzog and the mystical tradition • Wenders and anti-narrative

  12. Hong Kong Cinema • Tied to national anxieties about reunification with China • Robust national cinema resists Hollywood influences • John Woo • Hyperviolence and cultural apocalypse • Tsui Hark • Synthesis of martial arts, costume and ghost genres

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