Nosferatu Eine Symphonie des Grauens) | Senses of Cinema. Weimar sensibility in The Cabinet of Dr. Caligari’s mise-en-scene. In the period of Germany’s Weimar Republic, a unique and volatile pre- and post-war era within a window of less than 20 years, the German people were experiencing a torrent of new ideological, social, and political views. What was once normal was giving away to the new and unusual; what was typically viewed as quintessentially German was now being inundated by outside influences, by strange and foreign people and their imported cultural baggage. Whether or not these elements were as directly and obviously portrayed in the cinema as some like Siegfreid Kracauer would argue, there can be little doubt that film, this most popular, class-spanning and innovative of the arts, was indisputably influenced to one degree or another by this state of the German populous.
The times were surely changing, and in no film like Robert Wiene’s The Cabinet of Dr. Caligari (Das Cabinet des Dr. Caligari 1920) do we get a sense of what this meant for the cinema, let alone the German films of the period. The Cabinet of Dr. Caligari :: rogerebert.com :: Great Movies. The first thing everyone notices and best remembers about "The Cabinet of Dr. Caligari" (1920) is the film's bizarre look. The actors inhabit a jagged landscape of sharp angles and tilted walls and windows, staircases climbing crazy diagonals, trees with spiky leaves, grass that looks like knives. These radical distortions immediately set the film apart from all earlier ones, which were based on the camera's innate tendency to record reality. The stylized sets, obviously two-dimensional, must have been a lot less expensive than realistic sets and locations, but I doubt that's why the director, Robert Wiene, wanted them.
He is making a film of delusions and deceptive appearances, about madmen and murder, and his characters exist at right angles to reality. The film opens in the German town of Holstenwall, seen in a drawing as houses like shrieks climbing a steep hill. In itself, this is not a startling plot. A case can be made that "Caligari" was the first true horror film. The Texas Theatre in Dallas, TX | Directions and Parking Information.
Film Bibliographies: Media Resources Center UCB. Stingin’ in the Rain: The Umbrellas of Cherbourg. The Umbrellas of Cherbourg (Les Parapluies de Cherbourg, 1964, France 35mm 91mins) Source: CNC Prod Co: Parc Films, Madeleine Films, Beta Film Ex. Prod: Philippe Dussart Prod: Mag Bodard Dir, Scr: Jacques Demy Phot: Jean Rabier Ed:Anne-Marie Cotret, Monique Teisseire Art Dir: Bernard Evein Costume Des: Jacqueline Moreau Mus: Norman Gimbel, Michel Legrand Lyrics: Jacques Demy, Norman Gimbel Cast: Catherine Deneuve, Nino Castelnuovo, Anne Vernon, Marc Michel, Ellen Farner It’s tempting in the brazen, iridescent light of Baz Luhrmann’s all-singing, all-dancing Moulin Rouge (2001) to declare Jacques Demy’s Les Parapluies de Cherbourg as some kind of influential predecessor, a similarly song-saturated ‘grand-popera’. For starters, although its creator, punnily and poetically, defines his work’s special nature as ‘un film en chantè’ (1), as in a film that is done in song, Les Parapluies de Cherbourg isn’t truly a filmusical, let alone a celluloid opera, popera or even poperetta.
Endnotes. Abbas Kiarostami. B. June 22, 1940, Tehran, Iran. filmographybibliographyarticles in Sensesweb resources Abbas Kiarostami is the most influential and controversial post-revolutionary Iranian filmmaker and one of the most highly celebrated directors in the international film community of the last decade. (1) During the period of the ‘80s and the ‘90s, at a time when Iranians had such a negative image in the West, his cinema introduced a humane and artistic face. Kiarostami is a graduate of Tehran University’s Faculty of Fine Arts in Painting. He was first involved in painting, graphics and book illustration and then began his film career by making credit-titles and commercials. He founded the film department of the Institute for the Intellectual Development of Children and Young Adults (known as Kanun) where a number of the highest quality Iranian films were produced. What distinguishes Kiarostami’s style is his unique but unpretentious poetic and philosophical vision.
Filmography Where is the Friend’s House? Conversation with Stanley Cavell, cover page. WEEKEND 1967 jean luc godard. Волга-Волга. Socialist Realism. Sergei Eisenstein. B. January 23,1898, Riga, Latvia d. February 11, 1948, Moscow, USSR filmographybibliographyarticles in Sensesweb resources With Eisenstein, you confront a demonic, baroque visual theatricality, helplessly adhering to the confused theories of his writing on film. And he was quickly in decline…There are those who still acclaim him, but his influence is now very hard to detect. – David Thomson (1) When I took film classes in the late 1970s, the official line was that the history of film reflects a constant struggle between realism and expressionism. Almost three decades later, and in lieu of a somewhat more traditional filmic biography, I here attempt to answer that challenge by defending Eisenstein’s theories as well as his craft. As an intellectual, Eisenstein adhered to the Hegelian view of artistic greatness: Indeed, it was his prior theoretical commitments that led young Sergei to explore, invent and embrace all the expressive possibilities of montage.
Filmography Strike! Bibliography. Roberto Rossellini. B. May 8, 1906, Rome, Italy. d. June 3, 1977, Rome, Italy. filmographybibliographyarticles in Sensesweb resources We all, film critics, filmmakers, film buffs, moviegoers, Western people and even people whose culture has been ‘influenced’, ‘transformed’ or ‘modernized’ by the West, we are all condemned to Rossellini. Needless to say, since all major directors transform our conception of film, this statement roughly applies to any of them. The son of a prominent Italian architect, Roberto, together with his brother Renzo and his sisters Marcela and Micaela (the three of them younger than him), had the comfortable but not too ostentatious upbringing of children of bourgeois homes in a social environment where aristocracy, though completely ruined and decadent, still held a prestigious and not only decorative status – as a mummified ideal of excellence.
The complexity of Rossellini’s work, as well as the number of problems it raises, forces one to a non-chronological analysis. Reality Ethics. Coen Bros. On Wet Horses, Kid Stars: It's A Wild West. Hide captionMattie Ross (Hailee Steinfeld) and U.S. Marshal Reuben "Rooster" Cogburn (Jeff Bridges) seek the man who gunned down her father in Joel and Ethan Coen's True Grit. Lorey Sebastian/Paramount Mattie Ross (Hailee Steinfeld) and U.S. Marshal Reuben "Rooster" Cogburn (Jeff Bridges) seek the man who gunned down her father in Joel and Ethan Coen's True Grit. Hailee Steinfeld plays 14-year-old Mattie, the stubborn and determined teenager who sets out to avenge her father's death in the Coen brothers' adaptation of Charles Portis' novel True Grit. But finding an actress to play Mattie was a challenge, Ethan Coen says.
"We saw only a tiny percentage of those auditions and submissions," says Joel Coen, whose filmography, all produced in tandem with his brother, includes Blood Simple, The Big Lebowski, O Brother Where Art Thou, Fargo, No Country for Old Men, Burn After Reading and A Simple Man. Joining the two on the journey is a Texas Ranger played by Matt Damon. Wilson Webb/Paramount. Narrative and the Grace of God: The New 'True Grit' Movie critic Dan Gagliasso doesn’t like the Coen brothers’ remake of the Henry Hathaway-John Wayne “True Grit.” He is especially upset because the moment he most treasures — when Wayne, on horseback, takes the reins in his teeth and yells to Lucky Ned Pepper (Robert Duvall), “Fill your hand you son-of-a-bitch” — is in the Coens’ hands just another scene.
“The new film,” Gagliasso complains, “literally throws that great cinematic moment away.” Lory Sebastian/Paramount Pictures, right, Associated Press, leftJeff Bridges, left, and John Wayne as Rooster Cogburn in versions of “True Grit.” That’s right; there is an evenness to the new movie’s treatment of its events that frustrates Gagliasso’s desire for something climactic and defining. In the movie Gagliasso wanted to see — in fact the original “True Grit” — we are told something about the nature of heroism and virtue and the relationship between the two. The new “True Grit” is that rare thing — a truly religious movie. Series: BFI Film Classics: Books. Weekend: When Godard Burned the Movie House Down - Page 1 - Movies. Jean-Luc Godard changed the course of film history with his debut Breathless (1960) and then again when he capped an unprecedented seven-year run with his 14th feature, Weekend.
Less an individual movie than the culmination of a process we might call the Godardification of cinema, Weekend was first shown here at the 1968 New York Film Festival and opened immediately thereafter at an Upper East Side movie house with an ad that paraphrased the French student radicals of the previous May: “IMAGINATION IS SEIZING POWER!” This apocalyptic farce—Alice in Wonderland as reconceived by the Marquis de Sade—would mark both the high point and the end of Godard’s meteoric career as a popular artist. Appropriately, the director chose to crash and burn with a comic horror film about the collapse of civil society. Weekend’s tone is insolently objective. Spectators are invited to laugh at cruelty throughout. The characters are greedy, self-absorbed, querulous, and violent. Details Related Stories Indeed. Weekend. Year after year, Jean-Luc Godard has been chipping away at the language of cinema.
Now, in "Weekend," he has just about got down to the bare bones. This is his best film, and his most inventive. It is almost pure movie. It is sure to be ardently disliked by a great many people, Godard fans among them. But revolutionary films always take some time for audiences to catch up. "Weekend" is about violence, hatred, the end of ideology and the approaching cataclysm that will destroy civilization.
It is also about the problem of how to make a movie about this. The film begins with motorists, perhaps because driving a car most quickly inspires the animal in us. The opening scenes have been hilarious. It is a traveling shot, with the camera parallel to the line of cars, that continues without interruption for perhaps three quarters of a mile. The traffic jam shows us a civilization that has gotten clogged up in its own artifacts. There are some other strange things. Senses of Cinema.