Modern cinema

Jacob Braunstein History of Film Professor Carman 2 December 2014 Film Noir’s Influence on Contemporary Cinema In the 1940’s to late 1950’s, the stylized film noir conquered Hollywood. This dark cinema was reflected through the tough economic times due to the Depression and WWII. Three decades later, film noir has resurfaced and is being used ever since. This heavily stylized form of cinema has influenced many contemporary directors and their movies. The film noir style was reflected by the post

When looking at early cinema compared to modern bodies of work, one thing that has changed dramatically was the way films were edited. From the 1900s through the 1960s, films such as L’Arroseur arrosé, Battleship Potemkin, The Cabinet of Dr. Caligari and Citizen Kane, all had their own way of telling a visual narrative. I’m going to give examples of how editing evolved and what techniques were developed. When looking at the Lumiére bros, one of their earlier works 'L’Arroseur arrosé’, the editing

Vanessa R. Schwartz, Gyan Prakash, and Camilo D. Trumper are authors who wrote books on urban globalization in different cities around the world. All three historians used cinema and film as part of their evidence in support of their different arguments. Schwartz, Prakash, and Trumper, however, agree that filmmakers created realities, either as entertainment, political messages, or reflections of their city. For Schwartz, Prakash, and Trumper, film reveals intimate details about cities during the

In the early times of narrative cinema there was litter pressure on the filmmakers for the evolution of film forms before nickelodeons (Salt, 31) as cinema had not become a mass cultural product and film was still just a novelty expected to die out like rock n roll. And so the demand was low and so the supply could remain unoriginal. Mary Jane's Mishap was made in 1903 when ‘multi-scene films were becoming popular’ (Salt, 32). Mary Jane's Mishap is notable for its use of experimental and inventive

its mirroring of capitalist and Western ideology. This behaviour could be seen in her private life and film roles, as she smoked, drunk and strolled the streets of urban environments, while going to street bars, cafes, casinos. Just like like the modern female Moreau showed a boredom with traditional bourgeois life and her role as an urban woman, was a departure of typical conceptions of French femininity, that kept the woman in the domesticated sphere. This urban femininity can be seen in many of

Street Angel (1937) present? What does it say about issues involved in "modernization"? What symbols are portrayed in Street Angel (1937) Introduction Every country has specific famous era in which their cinema portrays the reality of their society, the 1930 's was the era in which China 's cinema bent itself towards portraying society and modernization. A lot of distinctive features developed by Chinese film over the last hundred years are the result and testimony of the particular kind of interaction

the paper is to present a theoretical framework for the understanding of Brazilian political filmmaker Glauber Rocha’s style of film making which is inspired by third cinema. At the centre of the theory is the concept of Third Cinema: a new cinematic movement, built on the rejection of the concepts and propositions of traditional cinema, as represented by Hollywood. In this paper the content and context of the film Land in Anguish (Earth Entranced) is used to study about the aesthetic of film making

Throughout the history of cinema, a never-ending evolution in technological progression – paired with filmmakers’ resourcefulness and ingenuity – allowed for the development of style and encouraged a more involved craft, thus giving individual films a specific personality which therefore eased the process of discerning which piece of cinema was created by which filmmaker. Because of the progress made in film technology, especially early on, certain aspects of filmmaking that once were inconceivable

‘National Cinema’ is often used to describe simply the films produced within a particular nation state’. (Higson, 2015) Nations have distinctive stylistic devices, often featuring stereotypical settings and characters in the attempt to represent the essence of the nation’s culture. This is apparent when comparing the Australian drama, Australia (2008) with A Separation (2011), an Iranian drama. Both films reflect through a set of norms, behaviours, beliefs and customs their nations culture, demonstrating

love, revenge or justice for wrong doings, good and bad as well as killing. With these themes people all across the nation were united, one way or another people related to the films that were being viewed. It was at this point and time that Hindi cinema became a voice for those who could not be heard in politics, but actions would be glorified or exaggerated to appease all status of the caste system. Throughout pivotal moments in history, new themes would be expressed throughout film. Different cultures