Lesson 08: The Art Film. Professor Aaron Baker. Previous Lecture. Approaches to Film Authorship Steven Soderbergh’s Film Traffic (2000). Today’s Lecture. Art-Film Narration -Objectivity -Subjectivity -Authorial Commentary Central Station (1998) History of the Art Film.
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
Professor Aaron Baker
Antonioni’s L’Avventura (1960)
Bicycle Thieves (1948)
Y Tu Mama Tambien (2001)
Mission Impossible II (2000) Racing to stop bioterrorism.
The Edge of Heaven (2007)
The desert conveys the rejection and dislocation felt by Amelia in Babel (2006)
mental states of
Stanley Tucci’s character chooses creativity over money in Big Night (1996)
Do Right Thing: Intense feelings of character or filmmaker’s judgment?
“A realist aesthetic and an expressionist
aesthetic are hard to merge. The art film
seeks to solve the problem in a sophisticated way; through ambiguity. .
. . . . Put crudely, the procedural slogan of
art-cinema narration might be: ‘Interpret
this film . . . to maximize ambiguity.’”
“If the characters
the ending would
be neater. But I like
"I wish you a disturbing evening!" This is how Michael Haneke, who won Best Director award at Cannes in 2005 for Caché (Hidden), introduced his films at a festival in London.
Fatih Akin is a German film director of Turkish descent. He was born in Hamburg in 1973 and studied visual communications at the city's College of Fine Arts. He made his first film, Short Sharp Shock (1998), and won the Golden Bear award at the Berlin Film Festival with his 2004 film Head- On, which brought him to the attention of international audiences. His latest film, The Edge of Heaven, won the Best Screenplay Award at the 2007 Cannes Film Festival.
- From Spiegel Online
--Peter Keough in The Boston Phoenix
“During the location scout, I was surprised. . . .we were ceaselessly invited to sleep over, to share a room . . . some food, by people who barely subsist.”
What is great about the stories from the people in Central do Brasil is that they are so forthcoming, genuine and unfettered, . . . Only much later, . . . Dora goes through her conversion and discovers the need for telling those stories . . . .Dora’s realization that the stories of the people are the source of identity and at the same time the expression of these neo-realist stories are economically viable, even if it is only through her letter writing.--Felix Rebolledo
Critic John Simon
Luis Bunuel’s Viridiana (1961)
Next Lecture: Documentary