* 2007 : new directories = doc + forms
2008 cine101.com 2009
THR334 Film & Movies UAF Anatoly Antohin

acting.filmplus.org
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vid:

 
Web filmplus.org
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2006

NEW: 2007 : tarkovsky.wetpaint.com *** [join] new 2006 : flickr.com/groups/film-art + cinema german, italian & french
pages : SCRIPT
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... filmplus.org/history [new]


FILM analysis * History of Cinema * Part 4. Videos *

TOPICS: drama + comedy + postmodern + american age + self + death + script-o-rama + sex + communism + themes + subjects +
The Oxford History of World Cinema. Contributors: Geoffrey Nowell-Smith - editor. Publisher: Oxford University Press. Place of Publication: Oxford. Publication Year: 1997. [ see history page ] 2007 : tarkovsky.wetpaint.com *** [join] new 2006 : flickr.com/groups/film-art + cinema german, italian & french
pages : SCRIPT
youtube.com/group/pomo
* Belief in the primary creative importance of the director in filmmaking, often combined with a critical advocacy of the works of certain strong, distinctive directors is called auteur theory.
Film Mining -- Links
In the 1954 essay Une certaine tendence du cinéma français François Truffaut coined the phrase "la politique des auteurs", and asserted that the worst of Jean Renoir's movies would always be more interesting than the best of Jean Delannoy's. "Politique" might very well be translated as "policy"; it involves a conscious decision to look at movies in a certain way and to value them in a certain way. Truffaut provocatively said, "There are no good and bad movies, only good and bad directors." [ wikipedia ]

Truffaut and his colleagues at the magazine Cahiers du Cinema recognized that moviemaking was an industrial process. However, they proposed an ideal to strive for: using the commercial apparatus just the way a writer uses a pen. While recognizing that not all directors reached this ideal, they valued the work of those who neared it.

This theory espouses that all good directors (and many bad ones) have such a distinctive style that their fingerprints end up on the film. You cannot see a film by that director without recognizing their influence. The strength of this theory (and the logical penchant for directors to support it) have been blamed for the irrational lack of attention some early directors received during the heyday of film theory. Howard Hawks was argued to be a hack because he had too many movies across too many genres. Allan Dwan still has not received much critical recognition both because too few of his films are in circulation and he made too many without contemporary attention.

The auteurist critics—Truffaut, Godard, Chabrol, Rohmer—wrote mostly about directors, although they also produced some shrewd appreciations of actors. Later writers of the same general school have emphasized the contributions of star personalities like Mae West. However, the stress was on directors, and when Andrew Sarris exported the theory to the United States, screenwriters, producers and others reacted with a good deal of hostility. Writer William Goldman has said that, on first hearing the auteur theory, his first reaction was, "What's the punchline?"

The auteur theory significantly influenced the nouvelle vague movement of French cinema in the 1960s.


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Search The Internet Movie Database

Enter the name of a movie, TV show, or person and then click "Go" to get more information about it/them from imdb.com.

 
* This directory began as support pages for Film&Drama class only; Film-North is the place to visit for Filmmaking.

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DVD: Drama & Art House, Studio Specials & Classics, New & Future Releases, Cult Movies + textbooks
FilmDirect101
Film Directing 101 (use the pages for THR470) *

new: 2003 *

Man with the Camera

Summary

"Film History" page is only for the timeline, for understanding of the historical (philosophical, political, social) background of filmmakers and their styles.

Questions

filmstudy berkeley (grad) A film genre is a rough categorization of films into genres, which describe the typical subject matter—what the film is about: Western films are about the American West, love stories are about love, and so on. This is distinct from film styles, which describe filmic conventions which can be applied to any genre (see below). Of course, the more that genres are defined, the more likely that a filmmaker will try to combine, transcend and evade categories, so not every film can be neatly labeled.

Homework

Tarkovsky Links CZ ***

kinoeye.org *

Tarkovsky : R-Cinema + USSR + Rublev + Mirror notes for "Film & Movies" class *

Notes

Must introduce the concept by Spengler: Culture vs. Art ("The Sunset of Europe").

"There are no rules in film-making. Only sins. And the cardinal sin is dullness." -- Frank Capra

Virtual Theatre
A film style is a recognizable group of conventions used by filmmakers to add visual appeal, meaning, or depth to their work. It can encompass every aspect of film: dialogue, cinematography, attitude (i.e., seriousness or lack thereof).

Film style is distinct from film genre, which defines what a film is about. Although some styles are strongly associated with certain genres, a style can be applied to any genre -- Barbarella is a surrealistic science fiction film, for example.

new-2006

Potemkin "steps" fragment Eisenstein (video.mov)

Pudovkin. St. Petersburg (video.mov)


silent era page (part IV.)

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Film History

This is not a film history or even an intro to film class.

history from 0 page

Brief Overview

Tarkovsky
I do not teach Film History and pages on national cinema are only to support Film&Drama and Film directing classes. The great films and great filmmakers are the best teachers. Watch the masterpieces, study them -- and you will learn more about film that reading textbooks (read -- and watch again).

There are many places to go, if you interested in Film History, use the links. there is a new site I manage @ Absolute Authority -- Film Study; the place where I store the links. I tried for a year to organize the links on my pages and, finally, decided that I better use the "big guys" for this purpose (see Directing category @ Open Directory). Here YOU can submit your own URLs and all I have to do is to visit your webpages and approve (or not) them.

Nevertheless, you are welcome to use my disorganized link-pages or submit your links (Add-Link) for the readers of Theatre w/Anatoly (or Film-North).

Here are some on Film History:

The basics.

Subscribe yourself to Film Directing Forum -- open list!
Berman-Persona
Comment: Film Art, An Introduction -- I rather use the Monaco's (How to Read a Film) periodization: after the "New Wave" (I include in all my favorites -- Bergman and etc.) there is TV Age, and the end -- Media.

Seven Ages of Film is on Film for Kids

I'll work more film and history, when I am about to teach Film&Drama again...

[Spring 2003]

links -- the classics

Chaplin

100 Greatest Films

[ if you feel that this class pages are too much for you, start with 200X files, The Core Aesthetics ]

postmodern links

MovieCulture

film600

More Links

Most of links are ina new directory "Mining" Index (this site is new, designed for MiningCo., now -- "About" under the Filmmaking category).

Oliver Stone

Top 100 from Europe

Film Studies, Colorado

Film-North -- mother-site!

Kurosawa

Next: POV
2005: * Movies, list: recommended and required for THR334

dvd-browse
find-dvds-now
Film History: An Introduction, 2/e
Kristin Thompson, University of Wisconsin-Madison & David Bordwell, University of Wisconsin-Madison

Contents:
Student Center
Chapter 1: The Invention and Early Years of the Cinema, 1880s-1904
Chapter 2: The International Expansion of the Cinema, 1905-1912
Chapter 3: National Cinema, Hollywood Classicism, and World War I, 1905-1919
Chapter 4: France in the 1920s
Chapter 5: Germany in the 1920s
Chapter 6: Soviet Cinema in the 1920s
Chapter 7: The Late Silent Era in Hollywood, 1920-1928
Chapter 8: International Trends of the 1920s
Chapter 9: The Introduction of Sound
Chapter 10: The Hollywood Studio System, 1930-1945
Chapter 11: Other Studio Systems
Chapter 12: Cinema and the State: The USSR, Germany, and Italy, 1930-1945
Chapter 13: France: Poetic Realism, the Popular Front and the Occupation, 1930-1945
Chapter 14: Leftist, Documentary, and Experimental Cinema, 1930-1945
Chapter 15: American Cinema in the Post War Era, 1946-1960
Chapter 16: Postwar European Cinema: Neorealism and its Context: 1945-1959
Chapter 17: Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959
Chapter 18: Postwar Cinema Beyond the West, 1945-1959
Chapter 19: Art Cinema and the Idea of Authorship
Chapter 20: New Waves and Young Cinema, 1958-1967
Chapter 21: Documentary and Experimental Cinema in the Postwar Era, 1945-mid-1960s
Chapter 22: Hollywood's Fall and Rise, 1960-1980
Chapter 23: Critical Political Cinema of the 1960s and 1970s
Chapter 24: Documentary and Experimental Film Since the Late 1960s
Chapter 25: New Cinemas and New Developments: Europe and the USSR since the 1970s
Chapter 26: New Cinema in Latin America, Asia, the Pacific Rim, and Africa since the 1970s
Chapter 27: American Cinema and the Entertainment Economy: The 1980s and After
Chapter 28: Toward a Global Film Culture

Information Center
Overview
Table of Contents
About the Authors
What's New
Feature Summary
Supplements
PageOut
Credits mcgraw-hill.com

PulpFiction-FilmBooks
@1999-2004 *

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An online course supplement * 2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
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