‘12 years a Slave, award winning film director Steve McQueen associates making a film to, "writing a novel – you're telling a story. " This message is powerful and defines the true purpose of filmmaking that is, ‘to tell a story.’(Victorino) Hollywood has capitalized on the aspect of visual storytelling first introduced in 1985 by the Lumiere brothers with their first movie ever made for projection -- Workers Leaving the Lumiere Factory. They (Hollywood), then designed a Studio System called Classic Hollywood Cinema to Finance, Organize, Produce, Market, Distribute, and Exhibit movies for financial gain while entertaining movie goers. This term was coined by David Bordwell, Janet Staiger and Kristin Thompson to define Hollywood’s film making during the period of 1913 to 1960. From the D.W. Griffith successful 1913 first movie ever shot in Hollywood, ‘In Old California’, to the James Cameron’s 2009 movie Avatar grossing over 760 million in the box office, this process continues to be effective and lives on today. New Cinema however, also known as Cinema Novo became a film movement that appeared in Brazil in the late 1950s and reached its peak in the late 20 century to be used as a historic, political and economic device This movement sought to Rerepresent a culture while shedding new light on a national cinema which contributed to a new multinational aesthetics; thus thwarting the utopian idea of Brazil by suggesting that the country’s historical, social, political and economic ills were still very much evident. Although Cinema Novo borrowed some attributes from Classic Hollywood Cinema storytelling, these two Cinemas are different and are defined by their greater purpose for visual storytelling. Classic Hollywood ... ... middle of paper ... ...6, n.d. Web. 27 Apr. 2014. SMH.com, March 26 2014 "The Hollywood Studio System in 1940-1941 - The Major Studios, METRO-GOLDWYN- MAYER, WARNER BROS, 20TH CENTURY-FOX, PARAMOUNT, RKO." - JRank Articles. N.p., n.d. Web. 27 Apr. 2014. Victorino, R. C. "Film Industry and Filmmaker Resource for Film News, Reviews, Film Festivals, Interviews and the Art of Filmmaking." Can Social Media Help "Indie" Filmmakers Make It Big. N.p., n.d. Web. 27 Apr. 2014. "What Is Third Cinema?" Third (World) Cinema:. N.p., n.d. Web. 27 Apr. 2014. . Wilkin, Misha. "The Classical Hollywood Style." N.p., n.d. Web. Mar.-Apr. 2003. . Zhakova, Olga. "Reel American History - Films - List." Reel American History - Films - List. Real American History, n.d. Web. 27 Apr. 2014.
Films are necessary in our time period because the human eye can articulate the message intended through sight allowing visual imagination to occur. In the book, world 2 by Max Brooks, he creates a character by the name Roy Elliot who was a former movie director. Roy Elliot manages to make a movie titled “Victory at Avalon: The Battle of the Five Colleges” and some how it goes viral. Similarly, Frank Capra’s film, “Why we Fight” expresses a sense of understanding the meaning of wars. Films do not inevitably portray truth because they display what the film director views as important and beneficial for people to know.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
In my essay I will discuss the differences between national cinema and Hollywood cinema by using Rio de Janeiro¡¯s famous film City of God. There will be three parts in my following main body, the first part is a simple review of the film City of God, I will try to use the review to show the film structure and some different new points from this, show the how did the ¡®Shocking, frightening, thrilling and funny¡¯ (Nev Pierce) work in the film. The second part is my discussion parts; I will refer some typical Hollywood big name films such as Gangs in New York, Shawshank¡¯s Redemption, and Good Fellas to discuss the main differences between City of God and other national films. The third part is my summary, I will use my knowledge to analyse why there have big different between both kind of films and their advantages.
Modern films are something that millions of people enjoy. From going to the theater, to smelling the popcorn, to the comfortable seats, plus the previews of movies coming out that you just “Have to see!”, all followed by the main event: the film. It’s hard for some of us to imagine what life would be like without those moments. We know all the stories, we can quote every line, and tell you everyone who was in our favorite movie. But where did it all start? How did film become such a successful industry in the U.S.? Charlie Chapman is a name you have heard, more likely than not. He was a comedian, an actor, a screen writer, and a director that drastically changed the culture of film in America and throughout the world.
The New Latin American Cinema emerged mostly out of the countries of Argentina, Brazil, and Mexico during a time period when there was a large amount of hot button issues, and radical revolutions in Latin America and all over the world. The 1960’s brought about a considerable volume of change and questioning within the film industry and as a result, it gave birth to playing with conventional American formulaic films. These changes allowed for Latin American filmmakers to represent their people in a much more realistic fashion, instead of compromising culture for the sake of ticket sales. These films were intended to provoke discussion within the people by representing real and raw imagery on the screen. New Latin American Cinema is the
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
In this essay I will be explaining neo-realism and the stages it went through and how it affected cinema and will also talk about André Bazin and his work in regards to neo-realism.
Terry Gilliam’s Brazil, released in 1985, is a science fiction film that centers on a dystopian society where everything is controlled and yet there is still this strong sense of lawlessness and chaos that goes along with it. The movie focuses on Sam Lowry, played by Jonathan Pryce, who is an unambitious employee of “Information Retrieval”, a department in the ministry. He lives in a world that is simultaneously futuristic and primitive; they have access to progressive technology, yet it is clunky and inconvenient. In the film, the citizens are tricked into believing that they live in a progressive world, when in reality they have no agency as a result of their heavy reliance on the aid of technology, governmental restrictions, and refusal
Some examples of this include Samuel Goldwyn belonging to MGM, Fine Line belonging to Time-Warner, and October belonging to Universal. While not all consumers viewing a film may not at first make the connection that a company such as October belongs to Universal, the major studio influence is at play. Major studios also acknowledge that there is a market appeal to producing independent films. Often times the audiences for these films are more mature, older adults than the demographics many summer blockbuster films are marketed towards (How Indies Can Survive and Even Thrive in a Blockbuster World.). This more mature demographic is valuable for the studios to acknowledge since they tend to have more disposable income than the younger audiences and by generating content that is more palatable for this more mature demographic, the studios continue to expand their market
Miramax with each release of films the quality and standards of independent cinema. With these three set of clips we can see the evolution of how Miramax approach “genre” and tried to make each film successful profit and creating the history of the Miramax brand through each film. The films fit into the brand of Miramax because they all approach different audiences and had a different aspect of “independent film” and creating a successful brand through ideas of editing styles within the film and the ambiguity of narrative closure of a film.
In this essay I will look at the emergence of Italian neo-realist cinema and how Italian Neo-realism has been defined and classified in the film industry as well as how its distinct cinematic characteristics could only have been conceived in Italy and how these characteristics set the neo-realist style apart from other realist movements and from Hollywood.
The filmmaking industry experienced a rapid growth and expansion during the first thirty years of its operation. The then unfamiliar experience quickly spread across the globe, attracting an ever growing audience in all the places it was...
Many people don’t think about it so much, but movies (or just film in general) have become such a big part of our lives that we don’t think much of it because it just feels like a usual part of living. But have you ever wondered why this is, and how far back film started? Movies and film have been around for a long time, have developed in big ways throughout time, and has advanced in such a big and new way to this day.
The classical Hollywood tradition of filmmaking has been both extremely influential and successful since the 1920s. Furthermore, the classical Hollywood cinema technique of making movies is not limited only to movies in the United States. For instance, “The Road Warrior, although an Australian film, is constructed along classical Hollywood lines” (Bordwell et al. 97). Director Alfonso Cuarón’s Y Tu Mamá También, which was produced and distributed originally in Mexico, is a coming of age story revolving around two young friends, Tenoch and Julio as they go on a several-day road trip to the beach with a woman named Luisa. Through its use of the coming of age narrative, Y Tu Mamá También is a good example of the classical Hollywood cinema form.