The Avant ­ Garde Cinema Community Essay

= Since the revival of Australian cinema in early 1970s, Australian films have focused on certain themes of social perceptions and representations of masculinity. We see dominant,

What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?

Article Three – Author: David Bordwell / Title of Article: The Art Cinema as a Mode of Film

This approach to queer subtext has been has always been a part of Western media as we as we explored in the film “The Celluloid Closet” (1995). Queer representation for many years was an continuous uncategorized personification that was vaguely acknowledged but to those who understood the subtext, it became an undercurrent of complex coded information that eventually paved the way for the integration of queer identification within the hetero film storylines. Doty speaks about this and also mentions that at some point in time representation of queer culture and sexuality

This film highlights the flaws of humanity in a western world. The films ability to touch on topics of classism, prostitution, and alcoholism makes the content mature and unlike typical western films. This revolutionary and innovative western created a foundation for many future films. The sophistication of the content, and lack of adherence to the production code makes this film an “adult”

Rarely has a film impacted an audience and held the test of time as the film Gone with the Wind. I have always been curious if director, Victor Fleming and producer, David O. Selznick and screenplay writer, Sidney Howard knew what they were creating a masterpiece and how this film would have such an enormous impact on audiences for years to come. Interestingly enough there were some who thought the film should not be made, as Irving Thalberg said to Louis B. Meyer in 1936, “Forget it Louis, no Civil War picture ever made a nickel” (Ten Films that Shook the World).

Comedy”. 2 It was called the sleeper hit of the decade, and gained extreme notoriety for its breakage of traditional cinematic taboos, in that it showed rather explicitly both sex and especially, raw and brutal violence. It greatly surprised both the

With reference to relevant cultural theories analyse the representation of sexuality in a film/television text of your choice.

As more and more images of homosexuality began to turn up in movies, still however they weren’t created to symbolize the average person, instead they were portrayed as overly dramatic and often very feminine characters. Also known as the sissy

The French New Wave, or Nouvelle Vague, is among the most revolutionary film eras in the history of cinema. Spurred as a result of major shifts in economic, social and technological norms within post-WW11 France, the New Wave conceived a renewed mode of expression across various creative industries. Francois Truffaut’s The 400 Blows (1959) and Jean-Luc Godard’s Breathless (1960) are two films, which despite major disparities, would go on to exemplify integral characteristics of the movement in the following years. Perhaps, the best way to truly appreciate the fervor of New Wave cinema is to examine the context of its inception. Both the stylistic and thematic qualities of French New Wave works directly reflect the implicit values, virtues and vices possessed by the emerging youth culture of the late 1950s, which consequently posed a fundamental challenge to the institutions, ideas and attitudes of the past.

In the early 1990s Laura Mulvey’s thesis concerning the patriarchal structure of an active male gaze has influenced feminist film critiques and Hollywood. Mulvey’s project is to use psychoanalysis to uncover the power of patriarchy in Hollywood cinema. Patriarchal influence upon cinema is found primarily in pleasure (pleasure in looking) or as Freud’s has put it, scopophilia. Mulvey suggests that it may be possible to create a new for of cinema due to the fact that patriarchy power to control cinematic pleasure has revealed.

Like most popular gender-bending films, Some Like It Hot calls us to critique constructions of sexuality and gender both within the context of historicized moment of the films production and from the perspective of later

Looking at theatre reviews and books such as Stephanie Jordan and Dave Allen’s Parallel lines: Media Representations of Dance and Ramsay Burt’s The Male Dancer: Bodies, Spectacle, Sexualities. I will find out more about the history of homosexuality in theatre and how DV8 defied the law

By analyzing the historical contexts of these specific movements, we take a deeper look at society's social, religious, economic, and political conditions that existed during a certain time and place. These relevant factors profuse mass influence into a filmmakers decisions while in the production process of a film. Additionally, these components have the role of establishing distinct trends in the film industry. Each movement has its own purpose for creating each film in regards to a stylistic standpoint.

I chose to write this project on the movie Grease. Growing up, this was my favorite movie. I chose to write about this movie because I haven't watched it since I was a child, and wanted to look back and reflect if there was anything I hadn’t picked up when I was younger watching this movie. The movie was made in 1978 by director Randal Kleiser, and was based on high school teens in the 50’s. Since it was based in the 50’s and most of us grew up watching this famous movie, I thought that there had to be social norms and stereotypes written and performed throughout the whole movie. The movie stars the famous actor John Travolta, who was a very young and upcoming actor in the 70’s. Since this was created in the late 70’s, there was a big push for equal rights of gays and lesbians going on in the real world at this time. I thought this movie would be a great example of gender, and other social political conflicts to help shape younger kids in the way “we are supposed to be”.