What Is Guido's 8 Hills?

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

Film has revolutionized the world as we know it. In the current day and age film is quite advanced. You can watch movies with special effects and insane resolution there were never thought possible before. But film has not always been this way. Over the decades since around the 1900s when the first film was made there been amazing advances in technology and in acting. An examination of the past hundred or so years will show the amazing advances film has taken to come to what we know of it today.

The director uses multiple camera shots to highlight the love during troublesome times and the emotions that are present. A wide shot is used when the audience watches Guido marching in front of the soldier shortly before his death. Guido does this as he is aware that his son is watching and still wants the experience of the camp to be a fun game and does not want Giosue to be afraid of what is happening. Close up shots are commonly used throughout the film to give more detail into the emotions that the characters are feeling. A

In this book, King examines the Hollywood “Renaissance” from the late 1960s to the late 1970s as well as some of the industrial factors that shape the current dominance of the corporate blockbuster. King begins by stating that there are two distinct periods when addressing “New Hollywood” including the Hollywood Renaissance and the New Hollywood. Geoff King analyses new Hollywood dynamically and accessibly in his text and discusses diverse films, film makers and film companies apart from concentrating on the interactions between the film texts, social contexts, and their producers by using examples across Hollywood and its genres. He further discusses how positions of studios within media conglomerate, and the relationship between production for big and small screens as well as the influence of television, advertising and franchising on the New Hollywood have been transformed the form of the films (King 137-140).

“A true film auteur is someone who brings something genuinely personal to his subject, instead of producing something tasteful, accurate but lifeless rendering of the original material,” a quote by Francois Truffaut. Auteur Theory was bold and risky for Francois Truffaut and Orson Welles to carry out throughout their film, but doing so led to having a wider audience and creating impressive memorial films. This New Wave of cinema had inspired many film makers to go outside the box and has led to the creation of idolizing films. An example would be Tim Burton, who has created many loved fantasy films from his unique out-there approach to directing. Auteur Theory has really shown us the importance of creating subjects of work that really reflect

The auteur theory is an idea or principle, which states that the film is a reflection of a director’s creative personal vision, as if to say the he or she is the primary author (which in French, means “auteur”). This theory first came to be in 1954, by a French film director named Francois Truffaut. The auteur theory’s birth was through the French New Wave, which was a group of new French filmmakers during the 1950’s and 1960’s. In the beginning, the theory received positive and negative responses. And to this day, it will create a heated debate. Many have questioned the theory, because there are usually multiple people involved in the development of a film. Ultimately, a film

Films of this period began to reflect a change in the values and attitudes of the French-Canadian people as political separatism started to become a real possibility for Quebec. Michel Houle even argues that the Quiet Revolution was started in part due to the freedom of speech that came from the films of the early 1960s; they instigated a sort of identity crisis in the people of Quebec (168). With this, film production was also subject to the growing auteur principle, which “stressed artistic control, expressive freedom, and personal style in direction, ‘independent of established industry practices’,” (Reines 24-25). This meant that many film directors started to take on their own styles and thusly formed a set of characteristics that became standard of Quebec films: further rejection of outside film industries’ practices, and the shift towards the “le direct” style of filmmaking (Gittings

Structure and agency are two theoretical terms used to explain the capacity at which we as people are able to be individuals, and to what extent those influences limit our individuality. Structure refers to the ways in which a society is organized. Agency refers to the behaviors and actions of the individuals within the social structure. Agency is limited by the structure due to cultural barriers and inequalities within the structure. In this essay, I will present an overview of why critical theorists are concerned with those inequalities, and I will further identify the problems within the system contributing to the unequal access to the public sphere, relating specifically to class and gender inequalities.

Ever since slavery was abolished, there has been a continuous struggle in the United States between African Americans and Caucasians involving social class, poverty and equality. Although blacks have suffered terribly in the past, they are still commonly looked down upon and even placed in a lower class category. The struggle over slavery opened to flood gates to the Civil War, Reconstruction, segregation, Jim Crow laws, the Civil Rights Movement and is still something we are overcoming as a Nation.

The concept of Auteur was first introduced by Andre Bazin in an essay featured in a 1954 edition of Cahier du Cinema, often referred to as ‘camera stylo’ or ‘signature style’ as a way of critiquing French new wave cinema. This theory allowed film to be criticised and analysed in the same way as other creative platforms such as art and literature. By identifying the director as auteur as opposed to just ‘Metteur-en-Scène’ it transformed them into an artisté, by assuming creative control they in turn gave a film a certain style. The auteur was a director “consistently expressing his own unique obsessions, the other was a competent, even highly competent, filmmaker, but lacking the consistency which betrayed the profound involvement of a personality”

The film industry has always been somewhat of a dichotomy. Grounded firmly in both the worlds of art and business the balance of artistic expression and commercialization has been an issue throughout the history of filmmaking. The distinction of these two differing goals and the fact that neither has truly won out over the other in the span of the industry's existence, demonstrates a lot of information about the nature of capitalism.

This makes Guido’s father look smaller in the background. This is a very good example of mise-en-scene because it’s defined as the articulation of cinematic space. In this film Fellini took very good advantage of the frame. His way of placing characters is quite fascinating he almost places them like if they’d been on a stage while filmmaking.

In Guido’s real life it is completely evident a man’s paranoid! It consists in dealing with a beautiful, intelligent, and sophisticated wife, Luisa, with whom he is unfortunately estranged and he cannot communicate; a cheap, but volcanic mistress, Carla, whom is his sexual appetite and libido’s satisfier; a muse, a comforting and a refined and breath-taking woman, Claudia, whom is a movie character. The “muse” is built only by his tired mind and in his imagination, according to the fact that Claudia technically is a below average kind of woman. Also the writer, technicians, actors, doctor, producer, and his sagacious critic, from whom he is constantly advised, are mostly around him!

The cinematographer Gianni Di Venanzo did a fabulous job in capturing the essence of the film. The camerawork in 8½ is memorable because there is a wide array of style. From the hotel to the beach, the camera work shows how Mastroianni sees the world in the film. It is constantly shifting the perspective and allowing us to see how Guido reacts in his world. The wide pans help to set the stage and the tone for that scene. This helps the spectators understand what is going on in the film and where they are at. The way each scene is shot guides the viewers into Guido’s memories, fantasy and reality. Capturing certain sequences, Venanzo leads us into Guido’s past by showing us triggers that elicit the memory. For example the memory of Saraghina,

Film Industry has been expansively affected by the changes in technology. The mechanical and digital innovations give cause to the influence of equipment, distribution and the way in which films are made and consumed. New trends shape directors and filmmakers to expand creatively towards telling stories in motions. The film industry has developed to one of the most important tools of communication, it's cause so powerful affecting the way individuals and societies think, act and behave. Among the new Era approaching film, and seeing celluloid film fade is that of the Digital Era and a camera that saw celluloid films passing hastened.