Film movements consist of films that are produced within a particular period and/or nation and share significant traits of style and form.
Filmmakers who operate within a common production structure and share certain assumptions about filmmaking, such as formal and stylistic systems.
Film movement consists not only of films but also the activities of specific filmmakers
Beyond noting stylistic and formal qualities.
For each period and nation, there’s a portrait of relevant factors that impinge on the cinema.
These factors help explain:
*How a particular movement began?
*What shaped its development?
*What affected its decline?
Factors
State of the film industry
Artistic theories held by filmmakers.
Notion of reality and realism
Pertinent technology features.
Elements of the socioeconomic context of the period.
Film Movements
Early Cinema, 1893-1903
Silent Hollywood Cinema, 1908-1927
German Expressionism, 1919-1924
French Impressionism and Surrealism, 1918-1930
Soviet Montage, 1924-1930
Classic Hollywood Cinema, 1927-1959
French populist cinema of the 1930s.
Japanese Cinema, 1930s
Italian Neorealism, 1942-1951
French New Wave, 1959-1964
New German Cinema, 1966-1982
Aesthetic Film Movements
Film movements as artistic and socio-historical phenomena; the politics of film movements; comparison of five major film movements; the Russian Expressive Realism of the 1920’s the German Expressionism of the 1920s, the Italian Neo-Realism of the 1940’s, the French New Wave of the 1950s; and the Brazilian Cinema Novo of the 1960s.
Cinema and Society: Film Movements, Tudor
The relation between cinema and society:
The consequences of movies for society
The consequences of society for the movies.
The reduction of a phenomenon to its social structural base.
The intellectual roots for studying the social structural determinants of film are in the European tradition of the sociology of knowledge and art (a tradition largely deriving from Marxist theory).
Any account of a film movement begins and ends with specific historical events. But there may be processes common to a range of comparable cases, recognizable patterns of determination.
The very act of labeling confirms their distinctive status: German expressionism, Italian neo-realism; the Soviet case has no one name (Soviet Montage)
Each of the waves began after a major war.
German expressionism after WWI
Soviet dynamic realism after the 1917 Revolution and Civil War.
Italian neo-realism after WWII.
The interval between the War and the beginning of the Wave
Film Theory: Film Movements–Theory and Practice (Bordwell and Thompson, Tudor)
Research in Progress (Feb 7, 2021)
Bordwell and Thompson
Film movements consist of films that are produced within a particular period and/or nation and share significant traits of style and form.
Filmmakers who operate within a common production structure and share certain assumptions about filmmaking, such as formal and stylistic systems.
Film movement consists not only of films but also the activities of specific filmmakers
Beyond noting stylistic and formal qualities.
For each period and nation, there’s a portrait of relevant factors that impinge on the cinema.
These factors help explain:
*How a particular movement began?
*What shaped its development?
*What affected its decline?
Factors
Film Movements
Early Cinema, 1893-1903
Silent Hollywood Cinema, 1908-1927
German Expressionism, 1919-1924
French Impressionism and Surrealism, 1918-1930
Soviet Montage, 1924-1930
Classic Hollywood Cinema, 1927-1959
French populist cinema of the 1930s.
Japanese Cinema, 1930s
Italian Neorealism, 1942-1951
French New Wave, 1959-1964
New German Cinema, 1966-1982
Aesthetic Film Movements
Film movements as artistic and socio-historical phenomena; the politics of film movements; comparison of five major film movements; the Russian Expressive Realism of the 1920’s the German Expressionism of the 1920s, the Italian Neo-Realism of the 1940’s, the French New Wave of the 1950s; and the Brazilian Cinema Novo of the 1960s.
Cinema and Society: Film Movements, Tudor
The relation between cinema and society:
The consequences of movies for society
The consequences of society for the movies.
The reduction of a phenomenon to its social structural base.
The intellectual roots for studying the social structural determinants of film are in the European tradition of the sociology of knowledge and art (a tradition largely deriving from Marxist theory).
Any account of a film movement begins and ends with specific historical events. But there may be processes common to a range of comparable cases, recognizable patterns of determination.
The very act of labeling confirms their distinctive status: German expressionism, Italian neo-realism; the Soviet case has no one name (Soviet Montage)
Each of the waves began after a major war.
German expressionism after WWI
Soviet dynamic realism after the 1917 Revolution and Civil War.
Italian neo-realism after WWII.
The interval between the War and the beginning of the Wave
Germany: Dr. Caligari, 1918
Russia: Strike, 1925
Italy: Obsessions, 1942