The World of Cinema

“SPIRU HARET” NATIONAL COLLEGE OF COMPUTER SCIENCE
The world of cinema
Teacher: Rotaru Daniela Student: Lămășanu Andreea
Suceava
2022
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Table of Contents
I.Inroduction:Origins............................................................................ ............3
II.Movie eras:
1. The silent era of movies………………………………….……………………… 6
2. The sound era of movies………………………………….………………………7
3. Early history of Hollywood ……………………………………..……………..…8
4. New and modern Hollywood……………………………………..………..…..…9
III.Cinema around the world :Cinema movements………….………………………….11
French Impressionism………………………………………………………………….……11
German Expressionism………………………………………………………..……………..12
Soviet Montage……………………………………………………………………...……….13
French Poetic Realism……………………………………………………………………….14
Italian Neorealism…………………………………………………………………..……….15
Film noir…………………………………………………………………………………..…16
The Polish School………………………………………………………………………...….16
Cinema verité………………………………………………………………………………..17
Direct cinema……………………………………………………………..…………………18
Free Cinema……………………………………………………………………………..…..19
The Budapest school…………………………………………………………………..…….19

New queer cinema………………………………………………………………………..….20
New Hollywood………………………………………………………………………..……20
Dogme 95……………………………………………………………………………………21
Third cinema……………………………………………………………………………..…..22
Parallel cinema……………………………………………………………………………....23
Japan’s golden age of cinema…………………………………………………………….….24

Fifth generation Chinese cinema……………………………………………………….……24
Japonise new wave……………………………………………………………………….….25
Hong Kong new wave……………………………………………………………………….26

Taiwan new wave…………………………………………………………………………....27
South Korea new wave………………………………………………………………...…….28
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Iranian first new wave…………………………………………………………………….....28

Romanian new wave………………………………………………………………………...29
British new wave……………………………………………………………………...……..30
Australian new wave…………………………………………………………………...……31
French new wave……………………………………………………………………...……..32

Nuevo Cine Mexico…………………………………………………………………...……..33
Cinema du look…………………………………………………………………………..….33
IV.What is Cinematography? Defining the Art and

Craft…………….………………………………………………………………..….34
V.Storytelling and the cinema………………………………………………………….38
VI.What is genre and how is it determined?…………..……………………………..…40
VII.Conclusion………………………………………………………………………...…49
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I. Introduction
I chose this topic because I have always been fascinated with cinema as an art form.Cinema
has influenced the world throughout history, covering different topics from wars to different
cultures, and is a powerful medium of communication.As an art form, it would not exist without
the technology required to capture the moving image. But the mere ability to capture a moving
image would be meaningless without the art required to capture our imagination.
In fact, for more than a century, filmmakers and audiences have been working on a
massive, ongoing, largely unconscious social experiment: the development of a film language,
the basic and increasingly complex rules for how cinema conveys meaning. There is a grammar
of cinema that has evolved over time. And these rules, as with any language, are iterative,
meaning they emerge and evolve through repetition, both within and between generations.In
every generation or so we are confronted with great technological leaps that realign and often
improve our understanding of how language works. And therein lies the crucial difference
between film language and all other means of communication.
Origins: Who invented cinema?
Technically, the word itself comes from the ancient Greek, “kinema”, meaning movement.
Historically, it is a shortened version of French cinematography, an invention of the brothers
Auguste and Louis Lumiere, combining “kinema” with another Greek root, “graphien”,
meaning to write or record.
Cinema was not created by a single individual. Beneath the artistry of moving images is a
technology that has its roots in the late nineteenth century. Filmmaking and cinematography
could not exist without the invention of the movie camera. Though the oldest example of motion
picture photography was produced in 1878 by Eadweard Muybridge, who set up 24 still
cameras along a racetrack to capture a horse in motion, most film historians consider the
Kinetograph camera, invented by W.K.L. Dickson under the guidance of Thomas Edison in the
late 1880s and patented in 1891, to be the first functioning motion picture camera contained in
a single housing. In turn, the Kinetograph gave way to the Lumiére camera, the Pleograph, the
Aeroscope, and other early movie cameras. The Edison Company, on the other hand,
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successfully showed a prototype of the Kinetoscope in 1891, which allowed one person to
watch moving pictures at a time. Invented by Edison's British employee, William Kennedy and
Laurie Dickson, this was the first device to show moving pictures. The viewer looked through
an eyepiece at the top of the machine at the film gate. The film, initially about 20 seconds in
length, ran through the mechanism in a continuous loop.
France, the birthplace of cinema, made significant contributions to the art form and the film
making processes. The world's earliest surviving motion-picture film, showing actual
consecutive action is called “Roundhay Garden Scene”. It's a short film directed by French
inventor Louis Le Prince.
In 1893, the first public Kinetoscope demonstration was held. The Kinetoscope had become
a commercial success by 1894, with public parlors springing up all over the world.
The Lumière brothers were the first to show projected moving pictures to a paying audience
in December 1895 in Paris, France. They employed a gadget they invented called the
Cinématographe, which had a camera, projector, and film printer all in one unit.
The Cinématographe was a camera, printer and projector designed by brothers Auguste
and Louis Lumière. It was first demonstrated at a scientific meeting in March 1895. The
Cinématographe was used to present their first cinema show to a paying audience on 28
December 1895 at the Grand Café on the Boulevard des Capucines in Paris.
Unlike Edison’s electrically-powered Kinetograph camera, the Cinématographe was small

and hand-cranked, so films could be shot anywhere – in town or country, in exotic foreign
locations, even from moving vehicles. The Lumières quickly seized the commercial
opportunities of their invention, establishing agencies in many countries.Around 450
Cinématographes were made.
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II.Movie Eras-History of cinema, movies, and film industry

I. The silent era of movies
First few decades of movie history were marked by

the popularity of silent black and white movies. Before
advanced technology enabled filmmakers to create movies
with sound, silent films played a big role in establishing the
roots of the modern film industry.
History of movies started in the late 19th century

when technical advancements of industrial revolution
enabled the creation of first motion picture cameras and
projectors. After few years of experimentation, filmmakers
in Europe and United States started producing their short
films (often minute long) and distribute them in traveling theaters. It was quickly established
that production and reproduction of moving pictures was more cost efficient and simpler way
of entertaining the masses than the large traveling theatres or carnivals..
Driven by rising public interest, large profit margins, and a sudden wave of technical
invention, the motion picture industry began to expand its influence beginning in the mid-
1880s. In its first 11 years on the commercial market, from 1895 to 1906, silent films laid the
groundwork for the later establishment of film studios, world-renowned stars, and early film
grammar. The silent films of these early years were filmed in a single shot with a fixed, still
camera, often with one person, sometimes assisted by a few assistants, and towards the end they
were extended to several minutes in length by the production of professional companies.
Pioneers of commercial film were the American Mutoscope Company, which used a
seated peepshow machine for reproduction, travelling showmen in tent theatres who showed
small rolls of film throughout Europe and the United States, and in 1905 the first proprietary
theatre, "The Nickelodeon," was established in Pittsburg. Soon after, other American and
European cities followed suit and established their own movie theatres that showed 30-minute
screenings consisting of several shorter films.
The pioneers of the early silent film era were almost exclusively based in Europe. The
French Lumière Company sent its cameramen to all four sides of the world to record over 1000
newsworthy events. Frenchman Georges Méliès managed to produce an astonishing number of
films. His fame and popularity soared because of his use of special trick effects, which
contributed to the creation of some of the most popular films of his time (such as the famous
14-minute 1902 science fiction film “A Trip to the Moon”). Other notable film producers
included the Frenchman Charles and the Englishmen Robert W. Paul, James Williamson and
G.A. Smith, all of whom had great influence in Britain.
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Between 1900 and 1906, many new film techniques were developed. Simple film tricks,
painted backdrops, stop motion, double exposure effects, reverse motion, reversed shots,
variable camera speeds, and animation. In addition to these effects, film grammar evolved with
the introduction of more narrative structures, film continuity, point of view, female actors, and
elaborate chase scenes. By 1907, the popularity of silent film was rapidly increasing throughout
the United States and Western Europe. In the United States alone, over 4000 small
"nickelodeon" theatres were established, and screenings were accompanied by expert pianists
and other musicians. The major U.S. film companies attempted to consolidate their patents into
a central trust (Motion Picture Patents Company), but their market power was soon overrun by
local and foreign independent producers who managed to outbid them with huge amounts of
film stock. After the MPPC was defeated in 1912, most American film studios moved from
New York to California to escape paying for Thomas Edison's film patents and to take
advantage of the warm weather that allowed year-round film production. There they settled in
Los Angeles, forming the largest film centre in the Western Hemisphere.
From 1910 and onwards, films were finally shot with multiple reels (a practise not adopted
in the US until after 1912) and actors were finally credited in the credits. Films made in the US,
France, England, Italy, Russia, Denmark, and Germany received worldwide acclaim, and many
famous films were made in those few years before the outbreak of WWI.
As technology advanced, so did the films. Thanks to longer shooting times and organised
studio production, more advanced techniques could be used. Some of the most notable
advancements from this time were artificial lighting techniques (both exterior shots and more
exciting interior scenes), silhouette effects, animation techniques (framing and sound), parallel
plots, cross cuts, more advanced angles, reverse cuts, and more.
The triumph of Hollywood began after World War I devastated European film production.
Fueled by the wealth of the major film production companies (backed by the wealth of Wall
Street), American films (soon nicknamed "Hollywood movies") soon became the most popular
form of entertainment in the United States and the world. The rise of feature-length films,
famous actors who became worldwide phenomena (such as Charlie Chaplin, Buster Keaton,
Douglas Fairbanks, and Clara Bow) continued to influence filmmaking for many years to come.
Some of the most notable silent movies off all time are: “A Trip to the Moon”(1902),
“Ben-Hur” (1907), “The Birth of a Nation” (1915), “Nosferatu” (1922), “The Thief of Bagdad”
(1923), “Battleship Potemkin” (1925), “The Phantom of the Opera (1925), “Metropolis” (1927)
and “The Passion of Joan of Arc” (1928).
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II. The Sound Era of Movies
From the moment sound entered film industry, it managed to revolutionize this art medium
and enable countless filmmakers to express themselves in the way it was not possible before.
With over 80 years of presence in the market, sound movies represent the most dominant way
we experience films today.
Ever since the invention of first film techniques,

inventors from all around the world strived to create modern
systems that could easily record, edit and playback video
and audio recordings. Various types of sound devices were
created during the first few decades of film emergence, but
very few of them managed to reach the stage of maturity that
would be acceptable by film industry or film enthusiasts.
One of the most famous early designs of movie sound was
created by American inventor and minister Charles Taze
Russell who created lengthy film called “The Photo-Drama
of Creation” that was first to successfully synchronize film scenes with music and dialog. He
managed to achieve this by synchronizing movie playback with independent phonograph that
was reproducing pre-recorded sound on wax cylinder.
The era of sound films started with the introduction of Vitaphone, sound-on-disc system
that was developed by Western Electric’ Bell Laboratories in New York City, and eventually
bought by Warner Brothers in 1925. The first major success of this camera and sound system
was “Don Juan”, which featured synchronized symphonic orchestra music score, sound effects,
but it did not have voice track. Even though “Don Juan” was very popular, it did not manage to
recoup its high production cost. However, Warner Bros. managed to find its success with their
next feature.
First widespread success of sound movies happened with the late 1927 release of Warner’s
“The Jazz Singer”, 89-minute long musical film that featured synchronized dialogue and music.
It immediately broke the box-office records in United States, elevated Warner Bros,as one of
the major US film studios in the New York, and started the revolution of “talkies” movies.
Shortly after success of The Jazz Singer, Warner Bros and majority of other studios moved
their bases of operation into West Coast, establishing the era of Hollywood.
After the success of initial Hollywood sound movies, entire world slowly started adopting
this this new age of storytelling. By 1929 all Hollywood movies featured synchronized voice,
effect and music tracks, but outside of America, “talkies” arrived few years of decades after.
Because of the lead that Hollywood had over all other film industries, they managed to place
firm hold over popular movie culture of the 1st half of 20th century. Stars such as Katharine
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Hepburn, Humphrey Bogart, Clark Gable, Greta Garbo, and Shirley Temple promoted sound
movies and stylish Hollywood production all across the world. As years went on, filmmakers
and actors started extracting more and more from their simple sound setups, enabling creation
of fantastic movies that moved the limits of possible.
This rise in sound quality and overall changes in the way movies were being produced can
be seen in Alfred Hitchcock with “Blackmail” (first British sound film), Hollywood musicals
of 1930s, rise of the Universal Pictures gothic horror films “Frankenstein” and “Dracula”, 1933
monster film “King Kong”, gangster movies, comedies, animated films and cult classics such
as “The Wizard of Oz” and “Gone with The Wind”. All of them were created before the start
of WWII, which moved filmmaking into the era of war propaganda, and new genres that were
fueled by classics such as “Citizen Kane” (1941), “Bambi” (1942), “Casablanca” (1942), “It's
a Wonderful Life” (1946) and others.
III. Early History of Hollywood
Beginnings of the Hollywood was

marked by the arrival of films studios from
heavily taxed New York area to the sunny
California, and establishment of five large film
studios who dominated theaters of the US and
the World between 1910 and the end of the
World War II.
Hollywood started its life in the second

decade of 20th century with the rise of the
production facilities in South California. They were created there by the numerous filmmakers
who moved their business from New York in search of more consistent climate for round-the-
year film shooting, and of course, to escape fees imposed by Thomas Edison who owned many
patents on the movie making process. As the production capabilities of filmmakers grew,
Californian movie industry focused on the city of Los Angeles.
Influx of immigrants into United States quickly forced this new workforce to find new
ways of running business, and the popularity of movies quickly gave birth to the new kind of
movie entity – movie studios. Established by the ambitious men like Samuel Goldwyn, Carl
Laemmle, William Fox, Louis B. Mayer and the four Warner Brothers (Harry, Albert, Samuel,
and Jack), organized production of movies in Hollywood became standard. Production of
movies in Hollywood was almost exclusively held by eight studios, five majors and three
smaller ones. Major were Paramount, Fox Film Corporation (later 20th Century Fox), Warner
Bros, RKO, and Loew's (eventually becoming Metro-Goldwyn-Mayer). They managed to
revolutionize movie making business by having complete control over not only production
business (owning filming lots, equipment, editing studios, long-term contracts with both
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production crew and actors) but also distribution firms and wide networks of film theaters
across the USA. Three smaller production companies were Universal, Columbia (they had
similar structure as “Big 5” studios but did not have their own distribution network and theatres)
and United Artists (who was structured to be more as backer-distributor to the independent
producers).
Big Five movie studios (Paramount, Fox, Warner, RKO, and MGM) were supreme rulers
of the US movie industry between late 20s and late 50s, dominating the theaters and creating
around 700 movies at the height of the short movie popularity in the 1920s. This “Golden Age
of Hollywood Cinema” started with the release of the first long running feature talkie film “The
Jazz Singer” in 1927. Popularity of this movie quickly elevated Warner Bros into one of the big
Hollywood Studios. All film studios received substantial growth during the years of Great
Depression in the US, with ever rising number of people seeking entertainment on silver
screens, and the adventures of their favorite film stars.
Total domination of Hollywood over US territory very quickly started to showcase signs
of financial manipulation. Studios owned their own theaters, prices were fixed by the studios,
and theaters were obliged to buy movie “unites” packages that consisted of one or two highly
desirable movies, few A-budget movies, and few lesser quality movies. This led to the
saturation of the theaters with movies that were uninspired and created “by the formula”.
With over 19 thousand theatres in the US in 1949, Golden Age of Hollywood was over
and the post-WWII consumers, and the rise of Television forced the Hollywood to reinvent
itself.
IV. New and Modern Hollywood
Arrival of sound film changed the landscape of Hollywood and film industry significantly.
Changes brought larger popularity of film stars, larger budgets and the introduction of brand-
new film styles and genres.
After the appearance of “talkies” in 1927, Hollywood structure changed significantly,

enabling the rise of the Studio System and the almost complete rule of the Big 5 studios over
the cinema screens of United States. With rising movie costs, financial shenanigans, long
contracts that demanded production of large number of mediocre movies and ever larger strain
on the pockets of movie watching consumers, the US Federal antitrust action finally forced the
decline of the studio system in the late 1940s. This direct government action was brought to life
because of the business decision used by Big five studios forced movie theatres (which they
owned) only to buy movie units which consisted of one hit movie, several average ones and
few bad ones. This was first implemented in 1938, when independently produced animated
movie “Snow White” and the “Seven Dwarfs” from Walt Disney managed to break box office
records of that time. Fearing the competition, Big 5 studios forced their movies upon theatres
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and caused government to react and force them to sell their theatre business (19 thousand of
them).
Faced with the decline of movie ticket sales, ability of post-WWII audiences to find their
entertainment elsewhere, studios found themselves in the trouble. RKO did not survive financial
struggle, new taxations and regulations elevated cost of films, long term contracts with stars
and production staffs were discontinued (leading to the mixing of styles that were previously
be seen only in specific studios) and the increasing presence of television forced Hollywood to
start investing heavily into fewer films that could not be matched with cheaper TV productions.
New age of Hollywood started in 1950s with the increased focus of filmmakers on
scrambled chronology scripts, storylines with twist endings, blurred lines between antagonists
and protagonists, and the influx of directors who were schooled in Europe. With the unstable
theatre market, studios and their financial backers felt the pressure to secure the services of the
people that would assure the attendance of customers in cinemas – and those people were actors.
Star power of those actors soon elevated their salaries to incredible heights, leaving
screenwriters, directors, and other production staff way behind. With star power of Cary Grant,
Marlon Brando, Gregory Peck and Frank Sinatra, Hollywood managed to secure their future
and create movies that continued to break box office records. They also changed the way of
their studio structure, by offering their facilities to independent filmmakers to make their own
films.
70s and 80s brought another change in the world of Hollywood with the arrival of
“blockbuster” films, films that were produced from the start to be big media events, with
incredibly high marketing campaigns and movie tie-in products. First of them was of course
“Star Wars” in 1997 but was quickly followed by its sequels and several very popular films
from director/screenwriter Stephen Spielberg.
After 1990s, Hollywood fully focused itself on the worldwide market, and is based on the
model that is most similar to the one of United Artists – they are not production companies, but
a backer-distributor.
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III.Cinema around the world
Cinema movements
A film movement is a wave of films usually following a particular trend in cinema of the
time. Most trending movements in cinema are regional but influence world cinema. These films
have cultural origins usually influenced by national tragedy, popular culture, or social issues.
Experimental techniques can be used to create the innovating filming styles. Boundaries in
editing are also pushed to the limit at times to give these films a unique identity.
“While Hollywood dominated the global film market in its six or seven
decades,lots of profoundly influential film movements arose all over the
worls”-Craig Benzine
French Impressionism
(1918-1929)
French Impressionism is arguably the movement that initially inspired film criticism in an
academic fashion. The movement explored techniques such as non-linear editing, innovative
lighting, attempts to portray dream sequences and fantasies, and other ingenious methods to tell
a story from a protagonist’s point of view. The movement is widely known for prioritizing
aesthetically beautiful images, in the same vein as impressionist painters such as Renoir, Degas
and Monet.
In post-War France, a generation of filmmakers had become eager to explore the limits of
film as an art form. This was aided in-part by the belief that America was crafting more lively,
interesting productions by 1918, and the French industry was at risk of losing its own audience.
A crisis within the French industry developed, allowing filmmakers the opportunity to produce
ambitious films focused on beautiful aesthetics and psychological exploration.
Essential French Impressionism movies: “The Tenth Symphony” (La Dixième Symphonie
1918)– by director Abel Gance, “Man of the Sea” ( L'homme du large 1920)– by director
Marcel L'Herbier, “The Woman From Nowhere” (La femme de nulle part 1922) – by director
Louis Delluc, “The Wheel” ( La roue 1923) – by director Abel Gance.
“French cinema must be cinema … French cinema must be French” –

Louis Delluc
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Prior to French Impressionist cinema, the majority of conventions were inspired by live
theatre. Instead of continuing this trend, impressionists created entirely new theories as to how
a film can articulate a wide range of emotions, situations, and subjective realities. Whether
directly or indirectly, these new conventions have influenced practically every moving image
since.
Man of the Sea (1920)

J’Accuse! (1919) directed The Wheel (1923) directed
directed by Marcel
by Abel Gance by Abel Gance
L'Herbier
German Expressionism
(1919-1931)
As the name suggests, German Expressionist filmmakers used visual distortion and hyper-
expressive performance to show inner turmoil, fears and desires of that era. German
Expressionism reflects the inner conflicts of its 1920s German audience by giving their woes
an inescapably external presence. By rejecting cinematic realism, expressionist films showcase
dramatic, revolutionary interpretations of the human condition.
In 1916, the German government decided to ban all foreign films. With a sudden demand
for more domestic titles, there was an understandably dramatic increase in the number of films
produced in Germany each year. Themes of violence, cruelty and betrayal become more
relevant topics for discussion. This unfortunate set of circumstances, along with the constant
fear of hyperinflation, provided a platform for daring, innovative filmmakers such as Fritz Lang
“Metropolis” and F.W. Murnau “Nosferatu” to make German Expressionism one of the most
important and influential movements in cinematic history.
"I am profoundly fascinated by cruelty, fear, horror and death. My films

show my preoccupation with violence, the pathology of violence." - Fritz
Lang
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Unlike most other cinematic movements, Expressionism doesn't solely belong to

filmmaking, and existed prior to the invention of cinema. Consider Edvard Munch's The
Scream, arguably the most famous Expressionist painting of all time; you can clearly see how
the concept allows moods to be expressed by creative distortion. It shows an impression of a
scene, as opposed to its physical reality. On film, this ideology can apply to every aspect of the
creative process, from dream-like set designs to melodramatic on-screen performances. For this
reason, German Expressionist cinema also has close-knit ties to architectural design. Films such
as “The Cabinet of Dr. Caligari” and “Metropolis” are often studied as perfect examples of how
set design can be used to create a world that is aesthetically controlled by the film's emotional
instructions.
The Cabinet of Dr. Caligari

Nosferatu (1922) directed Metropolis (1927)
(1920 directed by Robert
by F.W. Murnau directed by Fritz Lang
Wiene
Today, the enduring influence of German Expressionism can be seen throughout the
medium, with critically acclaimed directors such as Ridley Scott and Tim Burton consistently
taking influence from Expressionist work. On a broader scale, German Expressionism's
enduring impact within the horror genre cannot be overstated, helping to shape the genre's
frameworks upon which the entire genre still relies on.
Soviet montage
(1924-1935)
Soviet montage theory is an approach to creating movies that rely heavily upon editing
techniques. It holds that editing and the juxtaposition of images is the lifeblood of filmmaking.
While many filmmakers just shot wide shots of the action, Soviet montage theory cut together
shorter shots to build a story.
When filmmakers were first pioneering how to create movies and elicit emotions from the
audience, they experimented with lots of different editing styles. Lev Kuleshov pioneered an
idea that would be known as the Kuleshov Effect. It is a cognitive event in which viewers derive
more meaning from the interaction of two sequential shots than from a single shot in isolation.
This version of the montage theory is the principal contribution of Soviet film theorists to
global cinema and brought about formalism into filmmaking.
At the forefront of this movement was Soviet director Sergei Eisenstein. He was one of
the first people to use montage and is known widely for his seminal silent film, “Battleship
Potemkin”(1925).
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Eisenstein's theories changed cinema forever. Editing began to inspire filmmakers to set up
more shots and take more chances. The perfect montage is “Parasite” that creates a mood and
ethos that carries the rest of the film.
Battleship Potemkin
Kino-Eye (1924) directed Strike (1925) directed by
(1925) directed by Sergei
by Dziga Vertov Sergei M. Eisenstein
M. Eisenstein
French poetic romantism

(1930-1939)
Poetic realism was a glorious era of French cinema, emerging from a particularly
inglorious period in French history. Infused with the prevailing gloom of the time, the films of
“le réalisme poétique” are populated with fatalistic characters often played by Jean Gabin,
Arletty or Jean Dasté and taken from the pages of great writers such as Émile Zola and Leo
Tolstoy or penned by writers such as Jacques Prévert and Charles Spaak.
Essential French poetic romantism films: “L'Atalante” (1934), “Pépé Le Moko” (1937),
“Lady Killer” (1937), “Grand Illusion” (1937), “Port Of Shadows” (1938), “La Bête Humaine”
(1938), “Le Jour Se Lève” (1939).
Key filmmakers: Marcel Carné, Jean Renoir, Jean Vigo, Julien Duvivier, Jean Grémillon.
L'Atalante (1934) directed Grand Illusion (1937) Le Jour Se Lève (1939)

by Jean Vigo directed by Jean Renoir directed by Marcel Carne
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Italian Neorealism
(1942-1951)
Neorealist directors such as Luchino Visconti, Vittorio De Sica and Federico Fellini
redefined how filmmakers could implement honest portrayals of life on the big screen. With an
emphasis on holding a mirror up to society, the neorealist movement strived to portray real
world struggles in the aftermath of WWII.
Throughout WWII, Benito Mussolini’s government had led the nation into political and
economic uncertainty, and Italy's film industry was consequently in turmoil. In an attempt to
disrupt the production of propaganda, the prestigious Cinecittà film studios were severely
damaged by the allied forces, making the studio unusable for the foreseeable future. This
ultimately forced Italian directors to seek alternative filmmaking practices, despite having few
options to choose from.
Although the frustration towards conservative, escapist cinema was somewhat suppressed
in, the popular belief that the industry was no longer creating films relevant to the public
prevailed. This, along with the destruction of Cinecittà film studios, led to a sudden shift in
Italian cinematic storytelling, both in terms of filmmaking techniques and the topics of
discussion. These two defining factors would ultimately lead to the rise of neorealism.
The end of WWII and the consequent end of German occupation then allowed the
neorealist movement to thrive artistically, discussing sociopolitical turmoils and real world
struggles in a way that was never possible under Mussolini’s rule.
"I try to capture reality, nothing else." - Roberto Rossellini
The movement gained international attention when Roberto Rossellini’s “Rome, Open City” won
the Grande Prize at the 1946 Cannes Film Festival, and Italian Neorealism's brutally honest portrayals
of the working class and their enduring struggles became known as the country's cinematic “golden
era”.
Ossessione (1943) Rome, Open City (1945) Bicycle Thieves (1948)

directed by Luchino directed by Roberto directed by Vittorio De
Visconti Rossellini Sica
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Film noir
(early 1920s – late 1950s)
Film noir, (French: “dark film”) style of filmmaking characterized by such elements as
cynical heroes, stark lighting effects, frequent use of flashbacks, intricate plots, and an
underlying existentialist philosophy. The genre was prevalent mostly in American crime
dramas of the post-World War II era.
Early examples of the noir style include dark, stylized detective films such as John
Huston’s “The Maltese Falcon” (1941), Frank Tuttle’s “This Gun for Hire” (1942), Otto
Preminger’s “Laura” (1944), and Edward Dmytryk’s “Murder, My Sweet” (1944). Banned in
occupied countries during the war, these films became available throughout Europe beginning
in 1946.
The darkness of these films reflected the disenchantment of the times. Pessimism and
disillusionment became increasingly present in the American psyche during the Great
Depression of the 1930s and the world war that followed.
Several examples of film noir, such as “Dmytryk’s Cornered” (1945), George Marshall’s
“The Blue Dahlia” (1946), Robert Montgomery’s “Ride the Pink Horse” (1947), and John
Cromwell’s “Dead Reckoning” (1947), share the common story line of a war veteran who
returns home to find that the way of life for which he has been fighting no longer exists. In its
place is the America of film noir: modernized, heartless, coldly efficient, and blasé about
matters such as political corruption and organized crime.
Film noir does not have a thematic coherence: the term is most often applied to crime
dramas, but certain westerns and comedies have been cited as examples of film noir by some
critics.
The Blue Dahlia (1946)

The Maltese Falcon (1941) Dead Reckoning (1947)
directed by George
directed by John Huston directed by John Cromwell
Marshall
The Polish school

(1955-1962)
Polish Film School refers to an informal group of Polish film directors and screenplay
writers active between 1956 and approximately 1963. The group was under the heavy influence
of Italian neorealists. It took advantage of the liberal changes in Poland after 1956 Polish
October to portray the complexity of Polish history during World War II and German
occupation.
16
The political changes allowed the group to speak more openly of the recent history of
Poland. However, the rule of censorship was still strong when it comes to history after 1945
and there were very few films on contemporary events. This marked the major difference
between the members of the Polish Film School and Italian neorealists.
The Polish Film School was the first to underline the national character of Poles and one
of the first artistic movements in Central Europe to openly oppose the official guidelines of
Socialist realism. The members of the movement tend to underline the role of individual as
opposed to collectivity. There were two trends within the movement: young directors such as
Andrzej Wajda generally studied the idea of heroism, while another group,the most notable
being Andrzej Munk, analyzed the Polish character via irony, humor, and dissection of national
myths.
Essential Polish film school films: “A Generation” (1954), “Kanal” (1956), “Ashes And
Diamonds” (1958), “Farewells” (1958), “Innocent Sorcerers” (1960), “Knife In The Water”
(1962), “Passenger” (1963).
A Generation(1955) Innocent Sorcerers (1960)

Passenger (1963) directed
directed by Andrzej directed by Andrzej
by Andrzej Munk
Wajda Wajda
Cinema verité
(late 1950s and early 1960s)
Cinema verite, which translates to "truthful cinema," is a manner of capturing the story on
screen. It is a style of filmmaking characterized by realism, most often associated with
documentaries, avoiding any artificial or artistic embellishments.
Perfect examples of French cinéma vérité are Jean Rouch’s “Chronique d’un été”(1961);
(Chronicle of a Summer) and Chris Marker’s “Le Joli Mai” (1962).
What are the key elements of cinema verite?
Verite films tend to have these specific qualifications:
• Filmed on location with non-professional actors
• Featuring handheld shots
• Focusing on everyday situations and lives of characters
• Unscripted action and dialogue
• Focusing on social and political issues
• Always using natural lighting
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• Often featuring some overlap between filmmaker and subject

As cinema verite left France and made its way around the globe, it began to overlap with
other definitions. American filmmakers took the idea of cinema verite and created "direct
cinema," which left filmmakers as a fly on the wall but still provoked subjects. Other
filmmakers across the world also used the ideas for their stance on "observational cinema."
Great Britain called it "Free Cinema."
“Chronique d’un
"Primary"(1960) directed “Le Joli Mai” (1962)
été”(1961) directed by
by Robert Drew Snowmen directed by Chris Marker
Jean Rouch
Direct cinema
(1958-1962)
Direct cinema is a documentary genre that originated between 1958 and 1962 in North
America, principally in the Canadian province of Quebec and the United States and developed
by Jean Rouch in France.
It is defined as a cinematic practice employing lightweight filming equipment, hand-held
cameras and live, synchronous sound that was available to create due to the new ground-
breaking technologies that were being developed in the early 1960s. This offered early
independent filmmakers the possibility to do away with the large crews, studio sets, tripod-
mounted equipment, and special lights in the making of a film, expensive aspects that severely
limited these low-budget early documentarians.
Similar in many respects to the cinéma vérité genre, it was characterized initially by
filmmakers' desire to directly capture reality and represent it truthfully, and to question the
relationship of reality with cinema.
Essential direct cinema films: “On the Bowery”(1956)-directed by Lionel Rogosin,
“Crisis: Behind a Presidential Commitment”(1963)-directed by Robert Drew, “The Chair”,
“The Mills of the Gods: Viet Nam”(1965)-directed by Beryl Fox, “Meet Marlon
Brando”(1966)-directed by Albert and David Maysles.
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Free cinema
(1956-1959)
Free Cinema was a documentary film movement that emerged in the United Kingdom in
the mid-1950s. The term referred to an absence of propagandised intent or deliberate box office
appeal. Co-founded by Lindsay Anderson with Karel Reisz, Tony Richardson and Lorenza
Mazzetti, the movement began with a programme of three short films at the National Film
Theatre, London, on 5 February 1956. The programme was such a success that five more
programmes appeared under the ‘Free Cinema’ banner before the founders decided to end the
series. The last event was held in March 1959. Three of the screenings consisted of work from
overseas filmmakers.
The first ‘Free Cinema’ programme featured just three films:
• Anderson's O Dreamland (1953), previously unshown, about an amusement park in
Margate, Kent
• Reisz and Richardson's Momma Don't Allow (1956), about a Wood Green (North
London) jazz club
• Mazzetti's Together (1956), a fiction based on a short story by Denis Horne about a pair
of deaf-mute dockworkers in London's East End.
The Budapest school

(1972- 1984)
The Budapest school, or documentarism, was a Hungarian film movement that flourished
from roughly 1972 to 1984. The movement originated from Béla Balázs Studios, a small-budget
filmmaking community that aimed to unite the young avant-garde and underground filmmakers
of Hungary and give them an opportunity to make experimental works without state censorship.
The Balázs studio gave birth to two main movements in the early 1970s: an experimental, avant-
garde group (led by individuals like Gábor Bódy), and the documentarist group, whose main
goal was the portrayal of absolute social-reality on screen. This movement was called
"Budapest school" by an Italian film critic on a European film festival. Soon they adopted this
name.
Films of the movement were generally shot with amateur equipment, mostly hand-held
cameras, and usually by two or more cameras at the same time. Non-professional actors, who
most of the time socially resembled their characters, were cast. These films also avoided pre-
written scripts, with only a basic scenario and certain plot elements pre-written, and the cast
members' reactions improvised on the set. Most films were shot in a very short period of time
with a very limited budget or no budget at all. Their central themes were mostly the lives of
working class and poor people in urban Hungary and their struggle to have a decent existence.
The main goal of the movement was to show absolute reality on screen instead of the false
escapism shown by commercial and mainstream films.
The Budapest school movement closely resembled cinema verité. The first full-length film
made in this manner was Jutalomutazás ("The Prize Trip"-1975) by István Dárday and Györgyi
19
Szalai. The best-known example of the movement is "Családi tűzfészek" ("Family Nest"-1979)
by Béla Tarr.
Film Novel - Three Sisters

"The Prize Trip"(1975) "Family Nest"(1979)
(1977) directed by Istvan
directed by Istvan Darday directed by Bela Tarr
Darday
New queer cinema

(early 1990s)
Coined by Sight & Sound writer and film professor B. Ruby Rich, the term ‘New Queer
Cinema’ suggests that there was an Old Queer Cinema too.The groundwork had been laid for
bold new voices in gay cinema like Derek Jarman, Todd Haynes and Tom Kalin by Kenneth
Anger (Scorpio Rising), Jan Oxenberg (A Comedy In Six Unnatural Acts), Gus Van Sant (Mala
Noche) and Bill Sherwood. The latter’s AIDS-haunted romcom Parting Glances, which offered
Steve Buscemi his first major film role, was a breakthrough for gay cinema. It was set around
New York’s vibrant LGBT scene and dealt with the disease with humour and the kind of
unblinking honesty that would characterise much of this unofficial movement.
Eseential queer cinema films: “Paris Is Burning” (1990), “Young Soul Rebels” (1991), “The
Hours And Times” (1991), “The Living End” (1992), “Swoon” (1992).
Paris Is Burning (1990) Young Soul Rebels The Hours And Times
directed by Jennie (1991) directed by Isaac (1991) directed by
Livingston Julien Christopher Münch
New Hollywood
(mid-1960s - early 1980s)
In the 1960s, the United States was undergoing a radical transformation. The old
Hollywood studio system had established formulas for filmmaking that could not even compete
with the television sitcoms of the time. And with the war in Vietnam and the race riots, people
had had enough of films like "The Sound of Music". Hollywood was losing money and
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filmmakers who had attended film school and seen foreign films began directing New
Hollywood.
There was no set style, only influences from foreign films. These films were not for the
whole family. Promiscuous sexual relationships , drugs, and sometimes violence were part of
these films. The films had no glamorous aesthetic and were gritty.
New Hollywood has promoted both American independent and Hollywood films.
Hollywood continues to make some great, thought-provoking, gritty films every year, drawing
inspiration from world cinema and influencing films from around the world. The American
New Wave never stopped, it's just not new anymore.
Major figures: Martin Scorsese,Terrence Mallick, John Cassavetes, Francis Ford Coppola,
Mike Nichols,Arthur Penn.
Notable films:
“Taxi Driver” (1976 dir. Martin Scorsese)
“Dog Day Afternoon” (1975 dir. Sidney Lumet)
“Easy Rider” (1969 dir. Dennis Hopper)
“The Graduate” (1967 dir. Mike Nichols)
“Bonnie and Clyde” (1967 dir. Arthur Penn)
“Midnight Cowboy” (1969 dir. John Schlesinger)
“Two-Lane Blacktop” (1971 dir. Monte Hellman)
“Badlands” (1973 dir. Terrence Malick)
“The Deer Hunter” (1978 dir. Michael Cimino)
Taxi Driver (1976)

Bonnie and Clyde (1967) The Graduate (1967)
directed by Martin
directed by Arthur Penn directed by Mike Nichols
Scorsese
Dogme95
(1995 - 2005)
Dodme95 is one of the few movements that have an official set of rules documented in a
manifesto. Dogme 95 was a filmmaking movement started in 1995 by the Danish directors Lars
von Trier and Thomas Vinterberg, who created the "Dogme 95 Manifesto" and the "Vows of
Chastity" .These were rules to create films based on the traditional values of story, acting, and
theme, and excluding the use of elaborate special effects or technology. It was supposedly
created as an attempt to "take back power for the directors as artists", as opposed to the studio.
They were later joined by fellow Danish directors Kristian Levring and Søren Kragh-Jacobsen,
21
forming the Dogme 95 Collective or the Dogme Brethren. Dogme is the Danish word for
dogma.
As for the plot, genre films were forbidden as well as superficial plots like murder. The
other rules said that it was forbidden to name the location of the film and the director was also
not to be named.
Majore figures:Lars von Trier and Thomas Vinterberg
Notable films:
Dogma 1 “The Celebration” (Denmark 1998 dir. Thomas Vinterberg)
Dogma 2 “The Idiots” (Denmark 1998 dir. Lars von Triee)
Dogma 4 “The king is Alive” (Denmark 2001 dir. Kristian Levring)
The Celebration
The Idiots (Denmark 1998) Mifune(1999) directed by
(Denmark 1998) directed directed by Lars von Triee Søren Kragh-Jacobsen
by Thomas Vinterberg)
Third cinema
(1960s-1970s)
Third Cinema is a Latin American film movement which decries neocolonialism, the
capitalist system, and the Hollywood model of cinema as mere entertainment to make money.
The term was coined in the manifesto “Toward a Third Cinema”, written in the late 1960s by
Argentine filmmakers Fernando Solanas and Octavio Getino, members of the Grupo Cine
Liberación and published in 1969 in the cinema journal Tricontinental by the OSPAAAL
(Organization of Solidarity with the People of Asia, Africa and Latin America).
Third Cinema rejects the view of cinema as a vehicle for personal expression, seeing the
director instead as part of a collective; it appeals to the masses by presenting the truth and
inspiring revolutionary activism. Solanas and Getino strongly argue that traditional exhibition
models also need to be avoided: the films should be screened clandestinely, both in order to
avoid censorship and commercial networks, but also so that the viewer must take a risk to see
them.
There are four manifestos accredited to beginning the genre of Third Cinema: Glauber
Rocha’s “Aesthetic of Hunger” (1965), Julio García Espinosa’s “For an Imperfect Cinema”
(1969), “Problems of Form and Content in Revolutionary Cinema” (1976) by Jorge Sanjinés,
and finally “Toward a Third Cinema” (1969) by Fernando Solanas and Octavio
Getino.Although all four define the broad and far reaching genre, Solanas and Getino's “Toward
a Third Cinema” is well known for its political stance and outline of the genre.
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The Courage of the People

The Principal Enemy
Ukamau (1966) directed (1971) directed by Jorge
Sanjinés (1974) directed by Jorge
by Jorge Sanjinés
Sanjinés
Parallel cinema
1952–1992 (First Wave)
1998-current (Resurgence)
Parallel cinema, or New Indian Cinema, was a film movement in Indian cinema that
originated in the state of West Bengal in the 1950s as an alternative to the mainstream
commercial Indian cinema. The term "parallel cinema" has started being applied to off-beat
films produced in Bollywood, where art films have begun experiencing a resurgence.
Inspired by Italian Neorealism, Parallel Cinema began just before the French New Wave
and Japanese New Wave, and was a precursor to the Indian New Wave of the 1960s. The
movement was initially led by Bengali cinema and produced internationally acclaimed
filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha and others. It later
gained prominence in other film industries of India.
It is known for its serious content, realism and naturalism, symbolic elements with a keen
eye on the sociopolitical climate of the times, and for the rejection of inserted dance-and-song
routines that are typical of mainstream Indian films.
Essential Parallel cinema films:“Pather Panchali”-directed by Satyajit Ray, “Aparajito”-
directd by Satyajit Ray, Jaane Bhi Do Yaaro” (Just Let It Go, Friends)-directed by Kundan
Shah, “Ardh Satya” (The circle of violence)-directed by Govind Nihalani.
Ardh Satya(1953)
Aparajito(1956) directed Pather Panchali(1955)
directed by Govid
by Satyajit Ray directed by Satyajit Ray
Nihalani
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Japan’s golden age of cinema

(1950s)
Approaching the 1920s, a new wave and era of filmmaking was realized, coming from the
first touted “master” of Japanese Cinema: Kenji Mizoguchi. His early works sparked what is
now known as the Golden Age of Japanese Cinema, with his disposition towards the use of
long takes and highly aesthetical camera movement in scenes. His unique use of “mise en
scène”, which refers simply to the arrangement of all the elements shown during a film take,
was unique and something that was not seen in Japanese filmmaking before.
The period after the American Occupation led to a rise in diversity in movie distribution
thanks to the increased output and popularity of the film studios of Toho, Daiei, Shochiku,
Nikkatsu, and Toei. This period gave rise to the four great artists of Japanese cinema: Masaki
Kobayashi, Akira Kurosawa, Kenji Mizoguchi, and Yasujirō Ozu. Each director dealt with the
effects the war and subsequent occupation by America in unique and innovative ways.
The golden age was a great time overall for the Japanese people, as not only did great
media come out of it, but also a placement of importance on the self and personal experiences.
The creativity of every aspect in the movie experience, through the different aspects of
filmmaking shown from the fantastic films released and importance on its viewing to
experience these in the best environment possible, makes for one truly golden experience.
Rashomon (1950) The life of Oharu(1952)

Tokyo story(1953)
directed by Akira directed by Kenji
directed by Yadujiro Ozu
Kurosawa Mizoguchi
Fifth generation Chinese cinema

(mid-late 1980s)
In the first decade of their filmmaking (until the mid-1990s), Fifth Generation directors used
common themes and styles, which was understandable since they were all born in the early
1950s, experienced similar hardships during the Cultural Revolution, entered the film academy
as older students with ample social experiences, and felt an urgency to catch up and fulfill tasks
expected of them. All felt a strong sense of history, which was reflected in the films they made.
The first of this generation's works was Zhang Junzhao's “Yi ge he ba ge" ( One and Eight ,
1983), set in northern China during World War II. Other early Fifth Generation films were also
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historical, such as Chen Kaige's Huang tu di ( Yellow Earth , 1984), and Zhang Yimou's “Hong
gao liang” ( Red Sorghum , 1987), concerning the civil war era and the war of resistance.
The Fifth Generation was credited with creating a new film language, the most prominent
feature of which was cinematography—use of the visual image to build narrative with
unconventional camera movement, vivid contrast between light and dark, unusual framing, and
montages. They employed allegory and ritual and emphasized ambiguity in telling stories;
generally, they moved away from theatricality and melodrama, preferring a minimalist style of
acting.
One and Eight(1983)

Yellow Earth (1984) Red Sorghum (1987)
directed by Zhang
directed by Chen Kaige directed by Zhang Yimou
Junzhao
Japanese New Wave

(1950 - 1976)
Taking its name from the Nouvelle Vague, the Japanese New Wave (Nūberu bāgu)
originated during a period of drastic societal change in Japan following the end of WWII. With
an emphasis on taboo subjects and experimental storytelling, Japanese New Wave cinema
explored themes of violence, radicalised youth culture and the country’s apparent delinquency
epidemic. As well as bringing vice to the forefront of Japanese cinema, the new wave
challenged well-established filmmaking constructs with innovative editing, composition and
narrative techniques. But considering the radical, unconventional nature of the Japanese New
Wave, it has a surprisingly corporate origin.
Throughout the 1960s, new wave directors such as Seijun Suzuki, Hiroshi Teshigahara
and Nagisa Oshima would continue to experiment with innovative editing, composition and
narrative techniques, leading them to become world-renowned directors that still boast
international cult followings.
Essential Japonise new wave films: “Children Who Draw” (1956),directed by Susumu
Hani, “Punishment Room” (1956),directed by Kon Ichikawa, “With Beauty and Sorrow”
(1965),directed by Masahiro Shinoda, “Tokyo Drifter” (1966),directed by Seijun Suzuki,
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Funeral Parade of Roses (1969) Bara no sôretsu by director Toshio Matsumoto, Himiko (1974),
directed by Masahiro Shinoda.
With Beauty and Sorrow

Children Who Draw (1956) Himiko (1974) directed by
(1965) directed by
directed by Susumu Hani Masahiro Shinoda
Masahiro Shinoda
Hong Kong New Wave

( 1979 - 1995)
Many directors of the Hong Kong New Wave studied overseas, and were therefore bringing
some westernised approaches to cinema to the East. In fact, the new wave bridges East and
West in a way that could perhaps only have happened in Hong Kong, given the Island's
complicated political history as a British colonial city for 157 years. This unique and now-
iconic blend of eastern and western principles towards filmmaking makes the Hong Kong New
Wave instantly recognisable.
Although Hong Kong's new wave is less aesthetically defined than other movements, the
term is used to express a broader influence outside of mainstream Chinese filmmaking. In this
way, the movement was used to define those who weren’t following the status quo, and instead
wanted to develop the industry with radical editing techniques, synchronous sound and hot-
footed production crews that would shoot on-location, with or without a permit.
Despite these progressive techniques, many new wave films stay within traditional genres
because films in Hong Kong were financed entirely by pre-sales. This explains why so many
titles, such as Wong Kar-wai's “Chungking Express” and “Fallen Angels”, focus on cops,
gangsters and delinquents, despite ultimately exploring their emotional journeys as opposed to
action-based storytelling.
Essential Honk Kong new wave films: “The Butterfly Murders” (1979) by director Tsui
Hark, “Dangerous Encounters of the First Kind” (1980) by director Tsui Hark, “Father and
Son”(1981) by director Allen Fong, “Nomad” (1982) by director Patrick Tam Kar-Ming, “Love
in a Fallen City” (1984) by director Ann Hui, “Run Tiger, Run” (1985) by director John Woo.
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Father and Son (1981) Nomad (1982) directed by Chungking Express (1994)
directed by Allen Fong Patrick Tam Kar-Ming directed by Kar-Wai Wong
Taiwan new wave
(1980s)
In the 1980’s the home video market boosted but most of the films in Taiwan, the home
of the Golden Horse film festival, were from Hong Kong. Desperate for some of the market,
the CMPC (Central Motion Picture Corporation) funded new filmmakers in order to boost the
Taiwanese film industry and compete with Hong Kong cinema.
Because films were easier to get funding for, these new filmmakers were able to make
artistically expressional films taking inspiration from Neorealism. This was the First wave.
What’s known as the second wave started in 1990 when films began to change to take on the
competition of Hollywood. The second new wave still retained artistic expression but was less
serious to fight against the blockbusters in box office.
Notable Films:“Eternal Summer” (2006 dir. Leste Chen)“Three Times” (2005 dir. Hou
Hsio-Hsien)“Vive L’amour” (1994 dir. Tsai Ming-Liang)“Taipei story” (1985 dir. Edward
Yang)“Prince of Tears” (2009 dir. Yofan)“A City of Sadness” (1989 dir. Hou Hsiao-Hsien)“Yi
Yi” (2000 dir. Edward Yang)“Pushing Hands” (1992 dir. Ang Lee).
Three Times(2005)
Taipei story(1985) Yi Yi (2000) directed by
directed by Hou Hsio-
directed by Edward Yang Edward Yang
Hsien
27
South Korea new wave

(late 1990s and early 2000s)
The cinema of South Korea refers to the film industry of South Korea from 1945 to present.
South Korean films have been heavily influenced by such events and forces as the Japanese
occupation of Korea, the Korean War, government censorship, the business sector,
globalization, and the democratization of South Korea.
The golden age of South Korean cinema in the mid-20th century produced what are
considered two of the best South Korean films of all time, The Housemaid (1960) and Obaltan
(1961),while the industry's revival with the Korean New Wave from the late 1990s to the
present produced both of the country's highest-grossing films, The Admiral: Roaring Currents
(2014) and Extreme Job (2019), as well as prize winners on the festival circuit including Golden
Lion recipient Pietà (2012) and Palme d'Or recipient and Academy Award winner Parasite
(2019) and international cult classics including Oldboy (2003),Snowpiercer (2013), and Train
to Busan (2016).
To the Starry Island(1993) My Bride My Love(1990)

Black republic(1990)
directed by Park Kwang- directed by Lee Myung-
directed by Kim Ki-Young
su se
With the increasing global success and globalization of the Korean film industry, the past
two decades have seen Korean actors like Lee Byung-hun and Bae Doona star in American
films, Korean auteurs such as Park Chan-wook and Bong Joon-ho direct English-language
works, Korean American actors crossover to star in Korean films as with Steven Yeun and Ma
Dong-seok, and Korean films be remade in the United States, China, and other markets. The
Busan International Film Festival has also grown to become Asia's largest and most important
film festival.
Iranian firsts new wave
(1960s–2010s)
Iranian New Wave refers to a movement in Iranian cinema. It started in 1964 with Hajir
Darioush's second film “Serpent's Skin”, which was based on D.H. Lawrence's “Lady
Chatterley's Lover” featuring Fakhri Khorvash and Jamshid Mashayekhi. Darioush's two
important early social documentaries “But Problems Arose” in 1965, dealing with the cultural
28
alienation of the Iranian youth, and “Face 75”, a critical look at the westernization of the rural
culture, which was a prizewinner at the 1965 Berlin Film Festival, also contributed significantly
to the establishment of the New Wave. In 1968, after the release of “Shohare Ahoo Khanoom”
directed by Davoud Mollapour,“The Cow” directed by Dariush Mehrjui followed by Masoud
Kimiai's “Qeysar” in 1969, Nasser Taqvai's “Tranquility in the Presence of Others” (banned in
1969 and re-released in 1972), and immediately followed by Bahram Beyzai's “Downpour”,
the New Wave became well established as a prominent cultural, dynamic and intellectual trend.
The Iranian viewer became discriminating, encouraging the new trend to prosper and develop.
Characteristics:
• Realistic, documentary style

• Poetic & allegorical storytelling
• Use of “child trope” (in response to regulations on adult material within films)
• Self-aware, reflexive tone
• Focus on rural lower-class
• Lack of “male gaze”
The Cow (1969) directed by Tranquility in the Presence of

Dariush Mehrjui Others (1969/1972) directed
by Nasser Taghvai
Romanian new wave

(2004–present)
The Romanian New Wave (Romanian: Noul val românesc) is a genre of realist and often
minimalist films made in Romania since the mid-aughts, starting with two award-winning
shorts by two Romanian directors, namely Cristi Puiu's “Cigarettes and Coffee”, which won the
Short Film Golden Bear at the 2004 Berlin International Film Festival, and Cătălin Mitulescu's
“Trafic”, which won the Short Film Palme d'Or at the Cannes Film Festival later that same year.
Aesthetically, Romanian New Wave films share an austere, realist and often minimalist
approach. Furthermore, black humour tends to feature prominently. While several of them are
set in the late 1980s, near the end of Nicolae Ceaușescu's totalitarian rule over communist
Romania, exploring themes of freedom and resilience (4 Months, 3 Weeks and 2 Days, The
Paper Will Be Blue, The Way I Spent the End of the World, Tales from the Golden Age), others,
29
however (The Death of Mr. Lăzărescu, California Dreamin', Tuesday, After Christmas), unfold
in modern-day Romania, and delve into the ways the transition to democracy and free-market
capitalism has shaped Romanian society after the fall of communism in late 1989.
The most notable films “Tales from the Golden Age”(2009) directed by Hanno Hofer,
“Aurora”(2010) directed bu Cristi Puiu, “The Paper Will Be Blue” (2006),by dir. Radu
Muntean, “The autobiography of Nicolae Ceausescu”(2010)by dir. Andrei Ujica, “Beyond the
hills”(2012) by dir.Cristian Mungiu.
The Paper Will Be Blue Beyond the hills(2012)

Aurora(2010) directed by
(2006) directed by Rady directed by Cristian
Cristi Puiu
Muntean Mungiu
British New Wave
(1960 - 1972)
The British New Wave has incredibly close ties to other established movements associated
with literature, paintings and theatre. Most notably, it coincided with the ‘angry young men,’ a
group of working-to-middle class playwrights who made a huge impression on the theatre world
throughout the 1950s. As the angry young men, the likes of John Osborne and Tony Richardson
continued explored sociopolitical topics in the 1960s, taking these politicised discussions from
theatres to the cinema.
The popularity of mainstream cinema ultimately overshadowed the British New Wave in
the ‘60s, with international success for releases such as A Hard Day’s Night and James Bond
franchise. However, the somewhat short-lived movement made a lasting impression on the
nation’s independent filmmakers. Internationally acclaimed director Ken Loach has dedicated
his life to societal dramas with a realist approach, while the likes of Shane Meadows and Lynne
Ramsey have also successfully ensured that the hardships of working class Britons have not
been forgotten in local theatres.
Essential British new wave films: “Look Back in Anger” (1959) by director Tony
Richardson, “A Taste of Honey” (1961) by director Tony Richardson, “This Sporting Life”
(1963) by director Lindsay Anderson, “Darling” (1965) by director John Schlesinger,
“If...”(1968) by director Lindsay Anderson.
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Look Back in Anger This Sporting Life (1963)

Darling (1965) directed
(1959) directed by Tony directed by Lindsay
by John Schlesinger
Richardson Anderson
Australian new wave

(1975-1985)
The Australian New Wave was an era of resurgence in worldwide popularity of Australian
cinema, particularly in the United States. It began in the early 1970s and lasted until the mid-
late 1980s. The era also marked the emergence of Ozploitation, a film genre characterised by
the exploitation of colloquial Australian culture.
The Australian film industry declined after World War II, coming to a virtual stop by the
early 1960s. The Gorton (1968-1971) and Whitlam Governments (1972–75) intervened and
rescued the industry from its expected oblivion. The federal and several state governments
established bodies to assist with the funding of film production and the training of film makers
through the Australian Film, Television and Radio School, which fostered a new generation of
Australian filmmakers who were able to bring their visions to the screen. The 1970s saw a huge
renaissance of the Australian film industry. Australia produced nearly 400 films between 1970
and 1985, more than had been made in the history of the Australian film industry.
In contrast to pre-New Wave films, New Wave films are often viewed as fresh and
creative, possessing "a vitality, a love of open spaces and a propensity for sudden violence and
languorous sexuality". The "straight-ahead narrative style" of many Australian New Wave films
reminded American audiences of "the Hollywood-maverick period of the late 1960s and early
'70s that had just about run its course".
Mad Max (1979)

Wake In Fright (1971) Gallipoli (1981) directed
directed by George
directed by Ted Kotcheff by Peter Weir
Miller
31
Essential Australian new wave films: “Wake In Fright” (1971), “Picnic At Hanging Rock”
(1975), “The Chant Of Jimmie Blacksmith” (1978), “Newsfront” (1978), “Mad Max” (1979),
“Breaker Morant” (1980), “Puberty Blues” (1981), “Gallipoli” (1981).
French new wave
(1959-1964)
The filmmakers of the French New Wave - the 'Nouvelle Vague', were smart, experimental
and, above all, completely new. Inspired by hard-edged American mavericks like Sam Fuller
and Don Siegel, whose films they had grown up with, they rejected formalism and tradition in
favour of a new, punk ethos. Instead of the long takes of stylists like Max Ophuels, the so-called
"Cinéma du Papa" of the reviled René Clément, or the theatricality of Marcel Carné, Jean-Luc
Godard, François Truffaut, and their colleagues took cues from fellow writer André Bazin,
giving their films a boost of energy with jump cuts, non-linear narratives, improvisation, and
all-out old-fashioned cool.
Essential French new wave films: “The 400 Blows” (1959), “Hiroshima Mon Amour” (1959),
“Breathless” (1960), “Jules And Jim” (1962), “Cléo From 5 To 7” (1962), “Bande À
Part”(1964), “Pierrot Le Fou” (1965).
Any film movement prefixed by the word ‘new’ (New Hollywood, New German, the
Czech New Wave etc.) carries a debt to Godard and co., although John Cassavetes was blazing
a similar trail on the other side of the Atlantic in the late '50s. The enduring impact of the
movement can be felt in movies as diverse as “The Life Aquatic” (which quotes directly from
“Jules And Jim”), “Pulp Fiction and “The Conversation”. It was also for the nouvelle vague
filmmakers that American critic Andrew Sarris coined the term “auteur theory” and the
arguments over what it means and who it applies to haven’t stopped since.
Jules and Jim (1962)

Breathless (1960) directed
directed by Francois
by Jean-Luc Godard
Truffaut
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Nuevo Cine Mexicano

(early 1990s)
Nuevo Cine Mexicano, also referred to as New Mexican Cinema is a Mexican film
movement started in the early 1990s. Filmmakers, critics, and scholars consider Nuevo Cine
Mexicano a "rebirth" of Mexican cinema because of the production of higher-quality films.
This rebirth led to high international praise as well as box-office success, unseen since the
golden age of Mexican cinema of the 1930s to 1960s. The quality of Mexican films suffered in
the decades following the golden age due in part to Mexican audiences watching more overseas
films, especially Hollywood productions.
Like Water for Chocolate Y Tu Mamá También Amores Perros (2000)

(1992) directed by Alfonso (2001) directed by Alfonso directed by Alejandro G.
Arau Cuaron Iñárritu
Many themes addressed in Nuevo Cine Mexicano include identity, tradition, and socio-
political conflicts within Mexico itself. The movement has achieved international success with
films such as director Alfonso Cuaron’s “Y Tu Mamá También” (2001), which was nominated
for an Academy Award for Best Original Screenplay and at the Golden Globes for Best Foreign
Film, and Alejandro G. Iñárritu's “Amores Perros” (2000), which was nominated for Best
Foreign Film at the Academy Awards. Guillermo del Toro's “Pan's Labyrinth” a 2006 Mexican-
Spanish won numerous international awards.
Cinema du look
(1980s-1990s)
The culture of the 1980s has changed dramatically. Video games, fashion, advertising, and
music videos became very important in the pop culture of the 1980s and early 90s. Even with
government support to boost the French film industry, filmmakers had to work their way up
with highly stylized and colourful music videos and commercials. Three young stylized French
directors made films that critics called a Cinema du Look movement.
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The style was used to make the films look good. Most of the films were very colourful,
just like the current commercials or music videos. While earlier movements focused on story,
these filmmakers wanted their movies to look cool and their main characters sometimes looked
like pop stars. Modern pop culture was woven in and the dramatic look was abandoned.
Notable films:“Betty Blue” (1986 dir. Jean-Jacques Beineix),“Les Amants du Pont-Neuf”

(1991 dir. Leos Carax),“Leon: The Professional” (1994 dir. Luc Besson).
Betty Blue (1986) dir. Les Amants du Pont-Neuf Leon The Professional
Jean-Jacques Beineix) (1991) dir. Leos Carax) (1994) dir. Luc Besson)
IV.What is Cinematography? Defining the Art and Craft
Cinematography is the art and craft of making motion pictures by capturing a story
visually. Though, technically, cinematography is the art and the science of recording light either
electronically onto an image sensor or chemically onto film.
Taken from the Greek for "writing with movement," cinematography is the creation of
images you see on screen. A series of shots that form a cohesive narrative. Cinematography
composes each shot, considering, where everything in frame demands attention.
Cinematography elements:
• Lighting
• Shot size
• Camera focus
• Shot composition
• Camera placement
• Camera movement
• Camera gear
While the director makes key decisions regarding the camera, the cinematographer actually
makes it happen. One of the major considerations for cinematographers is exposure -the art of
manipulating the camera settings to get the desired look of the image.
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A cinematographer or director of photography (shortened to DP or DoP) is the crew chief

that presides over the camera and light crews on a film or video production. They are involved
throughout the entire production and liaise closely with the director to create the images you
see.
Lighting
While there is a separate lighting person, cinematography demands this knowledge. After
all, cinematography is what we see on-screen, and how well or horribly the scene is lit, is a
huge aspect of the craft.
Image: Gravity – Director of

Photography Emmanuel Lubezki
via Evan Richards
Film lighting techniques
• Mix color temperatures/Hard light versus soft light

Shot size
Hard light is way easier to Much softer lighting used here

control than soft light by the Coen Bros
Image:Terminator Image:Great hotel Budapest

Mixing discordant colors can Wes Anderson preferred
be a dramatic and effective camera technique color and
cinematic technique center-staging
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Shot size means how much of the scene is included in the picture, and whether it mainly
shows the setting, people in the setting, or details of faces and things.
• Wide Shot
The wide shot frames a character from head to toe. It is also referred to as a long shot or a
Image: Hugo
Wide Shot via Paramount
Pictures
full shot. These shots are used to show the audience the context and space of a scene by featuring
scale, distance, and location.
• Medium Long Shot
Image: No Country For Old

Men
Medium Shot via Miramax
The medium long shot frames the subject from the knees up, and often the focus is on the
location rather than the character. The medium long shot is often used as an establishing shot,
as it shows a character in relation to their surroundings.
• Medium Close-Up Shot
Image: The Big Lebowski

Medium Close-Up via
Working Title Films
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The medium close-up shot frames a character from the middle of their chest and up. It is
sometimes called a head and shoulders shot. The emphasis is on the character’s facial
expressions, but their body language should complement the overall composition.
• Close-Up Shot
Image: The Good, The

Bad and The Ugly Close-
Up via United Artists
The close-up shot tightly frames a character or object. Typically, close-ups are used to
portray a character’s emotions, while only framing their face. They can also used to show a
highly specific action.
• Camera focus
Directors and cinematographers use focus, or more importantly depth of field, to convey
a message about the story whether as a literal device or subliminally to evoke an emotional
response to the material or scene.
• Shot Composition
Composition refers to the way elements of a scene are arranged in a camera frame. Shot
composition refers to the arrangement of visual elements to convey an intended message.
• Camera placement
Where they place the camera greatly affects how the audience reacts to the shot, and
therefore the rest of the scene. It can have significant emotional impact or even convey character
behavior.
For example, if the story calls for a character to be seen as rude, or ill mannered while out
on a date, placing the camera close to the subject’s mouth while chewing would be effective.
• Camera movement
Camera movement can heighten the emotion and suspense in a scene. Choose to move the
camera with the characters and gain perspective.
• Camera Gear
A Steadicam gives the camera operator tremendous freedom but a dolly shot also gives
the shot a distinct look and feel.
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• Good cinematography serves the story and not itself (doesn't cause attention to itself)
using camera angles/movement/composition lighting and color. It conveys meaning
mood and emotion subliminally while the spectator is engaged in the story.
V. Storytelling and the cinema
When you think of the visual style, when you think of the visual language of a film
there tends to be a natural separation of the visual style and the narrative elements,
but with the great, whether it is Stanley Kubrick, Terrence Malick or Hitchcock what
you’re seeing is inseparable, a vital relationship between the images and the story
he’s telling. — Christopher Nolan
The cinematic interpretation of the written form stems entirely from the perspective of a
director. It is incumbent on him to manipulate the material in a way that lends novelty and
freshness, that infuses every shot of the film with his signature.
Because of the emotions they evoke, stories transcend borders, genders and cultures. They
are fundamental to all cultures, religions and ages. They are myths and legends, novels and
plays, poems and anecdotes, films or series, long or short it doesn’t matter, what does is that
they connect us emotionally.
Storytelling has earned its place as the most important tradition humans possess.
Storytelling isn’t a collection of facts, but a narrative with perspective and emotion. Stories can
transform people. Through the narrative of a story people develop a deeper understanding, and
create their own emotional connections.
The portrayal of the director can be phrased by the formula:
Cinematography + Setting + Blocking + Acting + Editing = Directing
The director leads the viewer, so the viewer gets the most out of the movie. The director
wants the viewer to see the story from a particular point of view.
Like a stage director, a movie director tells the actors how to play a particular scene, sets
the scene for a specific type of mood, and moves the actors around for a particular effect. In the
above definition, the word setting is referring to the specific atmosphere created by the props,
location, scenery, and costumes.
The directing of cinematography includes both the camera shots and the lighting to obtain
both a particular type of effect and mood. The director also has control over the editing to create
the pace, rhythm, coherence, story, and character development they and the producer want.
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Without speaking a word, a director can express the mindset of the protagonist with a
single shot. The director shapes the story, or the script, so a particular emphasis is stressed and
a specific theme or discourse is presented.The director decides on or contributes to the
cinematography, the sound, and the editing of the scenes for a movie. In so doing, the director
shapes the movement and dialogue of the actors, along with their character portrayal.
Acting and storytelling have been intertwined since human beings began sharing stories
with each other. Actors and directors who draw on the tools of the ancient art of storytelling
will find they can build stronger and deeper audience connections.
"Acting is like sculpture, it's what you take away from yourself to reveal the
truth of what you're doing that makes a performance" - Orson Welles
Even for those who recognize that cinema is more than a recording medium and that there
are numerous conceptions of character in film, acting in the cinema has proved to be a
challenging field of study because actors' performances belong to a film's narrative and
audiovisual design. Screen performances reflect the aesthetic and cultural traditions that
underlie a film's narrative design, conception of character, and orchestration of performance
and nonperformance elements.
In film, actors' performances are integral to the flow of narrative information. Audiences
construct interpretations about characters' desires, choices, and confrontations largely by
watching actors' performances. To create performances that give audiences clear and nuanced
information about what is happening, why, and what is at stake, competent actors and directors
working in film do extensive script analysis and character study. In the cinema, actors'
performances are also part of a film's overall formal design. Audience impressions are shaped
by the dominant patterns and specific features of a film's sound, lighting, set, costume, makeup,
color, photographic, editing, framing, and performance design. Competent directors develop a
clear and imaginative design that serves as the blueprint for selections made by all members of
the production. Skilled actors create performances that contribute to the style embodied by a
film's other cinematic elements by adjusting their voices, gestures, postures, and actions to
conform with the director's stylistic vision.
Sometimes, a nonprofessional is cast in a certain part because there are correspondences
between the individual's physical appearance and the director's view of what a particular type
of character should look like. In the silent era, Russian filmmakers such as Sergei Eisenstein
(1898–1948) relied on this casting approach, known as typage. In the mid-twentieth century,
Italian neorealist filmmakers such as Vittorio de Sica (1902–1974) sometimes cast a
nonprofessional because his or her appearance, carriage, and lived experienced so closely
matched the character's. In most narrative films, however, there is little connection between the
fictional character and the actor's physical qualities.
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The true art of storytelling involves writing active characters who engage the audience.
Make us care what is happening in the story. Of course script, locations, lighting choices, visual
effects, camera movement and placement and strong cinematography all go to telling the best
story possible.
VI.What is genre and how is it determined?
Film Genres: Film genres are various forms or identifiable types, categories,
classifications, or groups of films. (Genre comes from the French word meaning "kind,"
"category," or "type"). Genres provide a convenient way for scriptwriters and filmmakers to
produce, cast and structure their narratives within a manageable, well-defined framework (to
speak a common “language”). Genres also offer the studios an easily “marketable” product, and
give audiences satisfying, expected and predictable choices.
Genres refers to recurring, repeating, and similar, familiar, or instantly recognizable

patterns, styles, themes, syntax, templates, paradigms, motifs, rules, or generic conventions.
Story (Action) + Plot + Character + Setting = Genre
• Action Genre
Gladiator (2000) directed by Inception (2010) directed by

Ridley Scott Christopher Nolan
Action films usually include high energy, big-budget physical stunts and chases,
possibly with rescues, battles, fights, escapes, destructive crises (floods, explosions, natural
disasters, fires, etc.), non-stop motion, spectacular rhythm and pacing, and adventurous,
often two-dimensional “good-guy” heroes (or recently, heroines) battling “bad guys” - all
designed for pure audience escapism. Includes the James Bond “fantasy” spy/espionage
series, martial arts films, video-game films, so-called “blaxploitation” films, and some
superhero films. A major sub-genre is the disaster film.
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• Animation Genre
Fantastic mister Fox (2009) Toy story (1995) directed by

directed by Wes Anderson John Lasseter
The animation genre is defined by inanimate objects being manipulated to appear as

though they are living. This can be done in many different ways and can incorporate any other
genre and sub-genre on this list.
• Comedy Genre
Ghostbusters(1984) directed The Royal

by Bill Murray Tenenbaums(2001) directed
by Wes Anderson
Comedies are light-hearted plots consistently and deliberately designed to amuse and
provoke laughter (with one-liners, jokes, etc.) by exaggerating the situation, the language,
action, relationships and characters. This section describes various forms of comedy through
cinematic history, including slapstick, screwball, spoofs and parodies, romantic comedies,
black comedy (dark satirical comedy), and more.
• Crime Genre
Goodfellas(1990) directed Se7en(1995) directed by

by Henry Hill David Fincher
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Crime (gangster) films are developed around the sinister actions of criminals or mobsters,
particularly bankrobbers, underworld figures, or ruthless hoodlums who operate outside the
law, stealing and murdering their way through life. The criminals or gangsters are often
counteracted by a detective-protagonist with a who-dun-it plot. Hard-boiled detective films
reached their peak during the 40s and 50s (classic film noir), although have continued to the
present day.
• Drama Genre
The green mile(1999) Beautiful boy(2018) directed

directed by Franck Darabont by Sergio Salazar
The drama genre features stories with high stakes and a lot of conflicts. They're plot-driven
and demand that every character and scene move the story forward. Dramas follow a clearly
defined narrative plot structure, portraying real-life scenarios or extreme situations with
emotionally-driven characters.
Drama is a very broad category and untethered to any era-from movies based on
Shakespeare to contemporary narratives.
• Experimental Genre
Eraserhead(1977) directed The exterminating

by David Lynch angel(1962) directed by
Luis Banuel
The experimental genre is often defined by the idea that the work of art and entertainment
does not fit into a particular genre or sub-genre, and is intended as such. Experimental art can
completely forego a cohesive narrative in exchange for an emotional response or nothing at all.
An experimental film is a project bucks the trends of conventional cinema and pushes the
medium of film in unexplored ways. The spectrum of experimental films is extremely broad;
this genre encompasses a great many types of projects of varying lengths, styles, and goals.
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• Fantasy Genre
Harry Potter and the Pan's Labyrinth(2006)

Sorcerer's Stone(2001) directed by Guillermo del
directed by Chris Columbus Toro
The fantasy genre is defined by both circumstance and setting inside a fictional universe
with an unrealistic set of natural laws. The possibilities of fantasy are nearly endless, but the
movies will often be inspired by or incorporate human myths.
The genre often adheres to general human psychology and societal behavior while
incorporating non-scientific concepts like magic, mythical creatures, and supernatural
elements.
• Historical Genre
The age of Troy(2004) directed by

innocence(1993) directed Wolfgang Petersen
by Martin Scorsese
The historical genre can be split into two sections. One deals with accurate representations
of historical accounts which can include biographies, autobiographies, and memoirs. The other
section is made up of fictional movies that are placed inside an accurate depiction of a historical
setting.
The accuracy of a historical story is measured against historical accounts, not fact, as there
can never be a perfectly factual account of any event without first-hand experience.
• Horror Genre
Horror films are designed to frighten and to invoke our hidden worst fears, often in a
terrifying, shocking finale, while captivating and entertaining us at the same time in a cathartic
experience. Horror films feature a wide range of styles, from the earliest silent Nosferatu
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classic, to today's CGI monsters and deranged humans. They are often combined with science
fiction when the menace or monster is related to a corruption of technology, or when Earth is
threatened by aliens. The fantasy and supernatural film genres are not always synonymous with
Rosemary's baby(1968) Hereditary(2018)

directed by Roman directed by Ari Aster
Polanski
the horror genre. There are many sub-genres of horror: slasher, splatter, psychological, survival,
teen terror, “found footage”, serial killers, paranormal/occult, zombies etc.
• Romance Genre
Pride and Blue valentine(2010)

Prejudice(2005) directed directed by Derek
by Joe Wright Cianfrance
The romance genre is defined by intimate relationships. Sometimes these movies can have
a darker twist, but the idea is to lean on the natural conflict derived from the pursuit of intimacy
and love. Romantic films often explore the essential themes of love at first sight, young with
older love, unrequited romantic love, obsessive love, sentimental love, spiritual love, forbidden
love, platonic love, and passionate love, sacrificial love, explosive and destructive love, and
tragic love.
• Science Fiction Genre

Sci-fi films are often quasi-scientific, visionary and imaginative - complete with heroes,
aliens, distant planets, impossible quests, improbable settings, fantastic places, great dark and
shadowy villains, futuristic technology, unknown and unknowable forces, and extraordinary
monsters (things or creatures from space), either created by mad scientists or by nuclear havoc.
They are sometimes an offshoot of the more mystical fantasy films (or superhero films), or they
share some similarities with action/adventure films. Science-Fiction sub-categories abound:
apocalyptic or dystopic, space-opera, futuristic noirs, speculative, etc.
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Star Wars Episode IV-A Arrival(2016) directed by

new hope(1977) directed by Denis Villeneuve
George Lucas
• Thriller Genre
Black swam(2010) Gone girl(2014) directed

directed by Darren by David Fincher
Aronofsky
Thriller is a genre of fiction, having numerous, often overlapping subgenres. Thrillers are
characterized and defined by the moods they elicit, giving viewers heightened feelings of
suspense, excitement, surprise, anticipation and anxiety. Successful examples of thrillers are
the films of Alfred Hitchcock.
• Western Genre
Once upon a time in The great silnce(1968)

west(1968) directed by directed by Sergio
Sergio Leone Corbucci
Westerns are the major defining genre of the American film industry - a eulogy to the early
days of the expansive American frontier. They are one of the oldest, most enduring genres with
very recognizable plots, elements, and characters (six-guns, horses, dusty towns and trails,
cowboys, Indians, etc.). They have evolved over time, however, and have often been re-defined,
re-invented and expanded, dismissed, re-discovered, and spoofed. Variations have included
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Italian “spaghetti” westerns, epic westerns, comic westerns, westerns with outlaws or marshals
as the main characters, revenge westerns, and revisionist westerns.
• Musical Genre
La la land (2016) directed by Beauty and the beast (2017)

Damien Chazelle directed by Bill Condon
Musical/dance films are cinematic forms that emphasize full-scale scores or song and
dance routines in a significant way (usually with a musical or dance performance integrated as
part of the film narrative), or they are films that are centered on combinations of music, dance,
song or choreography. Major subgenres include the musical comedy or the concert film.
• War Genre
War horse (2011) directed by Dunkirk (2017) directed by

Steven Spielberg Christopher Nolan
War (and anti-war) films acknowledge the horror and heartbreak of war, letting the actual
combat fighting (against nations or humankind) on land, sea, or in the air provide the primary
plot or background for the action of the film. War films are often paired with other genres, such
as action, adventure, drama, romance, comedy (black), suspense, and even historical epics and
westerns, and they often take a denunciatory approach toward warfare.
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• Biopics (Biographical Film)
I,Tonya (2017) directed by Bohemian Rhapsody (2018)

Craig Gillespie directed by Bryan Singer
and Dexter Fletcher
A movie genre that has been around since the birth of cinema, biopics are a category all
their own. Biopics can technically run the gamut of movie genres (Sports movies, War,
Westerns, etc.) but they often find their home in dramas. At their core, biopics dramatize real
people and real events with varying degrees of verisimilitude.
By the end of the silent era, many of the main genres were established: the melodrama, the
western, the horror film, comedies, and action-adventure films (from swashbucklers to war
movies). Musicals were inaugurated with the era of the Talkies, and the genre of science-fiction
films wasn't generally popularized until the 1950s. One problem with genre films is that they
can become stale, cliche-ridden, and over-imitated. A traditional genre that has been
reinterpreted, challenged, or subjected to scrutiny may be termed revisionist.
Many films currently do not fit into one genre classification. Many films are
considered hybrids - they straddle several film genres. There are many examples of present-day
filmmakers reflecting familiar elements of traditional or classical genres, while putting a unique
twist on them.
There are many genres or film types that were once popular staples but have mostly fallen
out of fashion nowadays, such as big-budget musicals, large-scale romantic epics, classic film
noirs, nature documentaries, spoof or parody comedies, “spaghetti westerns”, A (young adult)
book adaptations, Devil/Satanic or vampire horror films, classic “creature feature2 or “monster”
movies, political-election campaign films, “found footage”, mockumentaries, inner-city “hood”
films, adult-rated animations, Cold War thrillers, various sports films, women-in-prison (WIP)
and other exploitational sub-types such as “slasher” films, and classic who-dun-its. The two
mainstream genre areas of war epics and westerns have also struggled in recent years.
• Stages of Genres: There are basically five different stages of genres as they have
progressed and developed through cinematic history:
1. Primitive or Early: the earliest and purest genre form with iconography, themes,
and patterns starting to develop
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2. Classical or Traditional: this stage marked the growth, popularity and

solidification of the genre and clear establishment of its characteristics and
prototypes, setting a 'benchmark'
3. Revisionist: a reinterpretation, recasting, or questioning of the original genre,
with greater complexity of themes while retaining many of its characteristics
and iconographic elements
4. Parodic: the spoofing or mocking of the genre by over-exaggeration of the
characters and the genre's traditional themes
5. Extended or Mixed as Hybrids: the blending, modification or
creative extension or melding of various genre elements as the
genre categories evolved, i.e., a sci-fi western, a comedic war
film, etc.
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VII.Conclusion
The history of world movies goes back to the end of the 1800s. It is now more than 200
years that the world of cinema has had the chance to develop through many experiments and
innovations. Technology has been one of the major contributing factors to the development of
world cinema.
The world cinema journey began in silence. Movies were created without sound as the
technology of sound was not available at the beginning. A device did not exist that could
synchronise sound with the picture. Cinema remained silent for the first thirty years until sound
technology was developed late in the 1920s.
The history of world cinema has undergone a long course of research, creation and
application of new techniques. Numerous methods have been tested and applied to give film
making a place in the finest of performing arts across the globe.
Modern cinema was the result of art cinema's adaptation to these contexts rather than the
result of the general development of film history or the “language” of cinema. As consequence
of this process of adaptation, art cinema became an institutionalized cinematic practice different
from commercial entertainment cinema. Cinema took different shapes according to the various
historical situations and cultural backgrounds of modernist filmmakers.
In film history, the notion of style is used in various contexts, but most often it refers to
specific periods of a national film production and to the formal characteristics prevailing in the
most important films of the given movement. It is also used to designate a systematic
application of certain technical solutions, which can be a singular choice in a film of any period
and any cultural context.Narrative techniques frequently used in modern cinema became
fashionable not as self-contained play with the form. They are the most appropriate tools for
telling specific stories.
Cinema has to reconstruct the concept of reality. Cinema can be used as a means of direct
political action, and films should exercise a direct impact on social, political, or ideological
debates. Cinematic narration is a form of direct auteurial and conceptual discourse. The artist
must create a self-contained ideological or mythological universe.
Cinematography is the art of visual storytelling, and good cinematography tells the story
effectively. That encompasses many aspects of the actual art form, including camera placement,
lighting, the grammar of film and knowing it well, and understanding the script and the story.
We commonly consider films in terms of their genre. We recognise genres by their
narratives or their themes, but also by their iconography, characters and certain stylistic
elements. As audiences, we enjoy the repetition of the familiar, but also the injection of novelty
and change to familiar forms.
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As viewers watch a film they are conscious of societal influence with the film itself. In
order to understand it's true intentions, we must identify its intended audience and what
narrative of our current society, as well as it comments to the past in relation with today's
society. This enables viewers to understand the evolution of film genres as time and history
morphs or views and ideals of the entertainment industry.
Cinema has come a long way since it first originated in the 1800s. The last 200 years have
been marked with creative experimentation and technological advancement. Every new film
movement and filmmaking technique helped pave the way for the next innovation, creating the
art form we now know and love.
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https://www.britannica.com/art/film-noir https://nofilmschool.com/what-is-cinema-verite
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know/https://en.wikipedia.org/wiki/Third_Cinema
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https://www.movementsinfilm.com/hong-kong-new-wave
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know/
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https://en.wikipedia.org/wiki/Parallel_cinema
https://www.premiumbeat.com/blog/cinematography-manual-the-ultimate-guide-to-
becoming-a-director-of-photography/
https://milnepublishing.geneseo.edu/exploring-movie-construction-and-production/chapter/5-
what-is-directing/
https://www.filmsite.org/genres.html
52

The World of Cinema

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The World of Cinema

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“SPIRU HARET” NATIONAL COLLEGE OF COMPUTER SCIENCE

The world of cinema

Teacher: Rotaru Daniela Student: Lămășanu Andreea

The Budapest school…………………………………………………………………..…….19

Japan’s golden age of cinema…………………………………………………………….….24

Hong Kong new wave……………………………………………………………………….26

Iranian first new wave…………………………………………………………………….....28

French new wave……………………………………………………………………...……..32

IV.What is Cinematography? Defining the Art and

Origins: Who invented cinema?

Unlike Edison’s electrically-powered Kinetograph camera, the Cinématographe was small

II.Movie Eras-History of cinema, movies, and film industry

First few decades of movie history were marked by

History of movies started in the late 19th century

II. The Sound Era of Movies

Ever since the invention of first film techniques,

III. Early History of Hollywood

Beginnings of the Hollywood was

Hollywood started its life in the second

IV. New and Modern Hollywood

After the appearance of “talkies” in 1927, Hollywood structure changed significantly,

III.Cinema around the world

“French cinema must be cinema … French cinema must be French” –

Man of the Sea (1920)

"I am profoundly fascinated by cruelty, fear, horror and death. My films

Unlike most other cinematic movements, Expressionism doesn't solely belong to

The Cabinet of Dr. Caligari

French poetic romantism

L'Atalante (1934) directed Grand Illusion (1937) Le Jour Se Lève (1939)

"I try to capture reality, nothing else." - Roberto Rossellini

Ossessione (1943) Rome, Open City (1945) Bicycle Thieves (1948)

The Blue Dahlia (1946)

The Polish school

A Generation(1955) Innocent Sorcerers (1960)

• Often featuring some overlap between filmmaker and subject

The Budapest school

Film Novel - Three Sisters

New queer cinema

Taxi Driver (1976)

The Courage of the People

Japan’s golden age of cinema

Rashomon (1950) The life of Oharu(1952)

Fifth generation Chinese cinema

One and Eight(1983)

Japanese New Wave

With Beauty and Sorrow

Hong Kong New Wave

Taiwan new wave

South Korea new wave

To the Starry Island(1993) My Bride My Love(1990)

• Realistic, documentary style

The Cow (1969) directed by Tranquility in the Presence of

Romanian new wave

The Paper Will Be Blue Beyond the hills(2012)

Look Back in Anger This Sporting Life (1963)

Australian new wave

Mad Max (1979)

Jules and Jim (1962)

Nuevo Cine Mexicano

Like Water for Chocolate Y Tu Mamá También Amores Perros (2000)

Notable films:“Betty Blue” (1986 dir. Jean-Jacques Beineix),“Les Amants du Pont-Neuf”

IV.What is Cinematography? Defining the Art and Craft

A cinematographer or director of photography (shortened to DP or DoP) is the crew chief