Some would say Krzysztof Kieslowski is arguably the best-known European filmmaker of the 1990s, stated by 4films.com. In 1995, the Academy of Motion Pictures Arts and Sciences nominated Krzysztof for Best Director and Best Writing. In 2002, he was listed as the number two Directors on the British Film Institute’s Sight and Sound Top Ten Directors list of modern times.
Krzysztof Kieslowski was born June, 27th 1941 in Warsaw, Poland. Warsaw is the capital and the largest city of Poland. While growing up, Krzysztof lived in several of the surrounding small town of Warsaw because his father was a tuberculosis patient. His family was poor and moved around where his father could get treatment for his condition. The German Nazi party occupied Poland a few years before he was born.
In 1966 Krzysztof enrolled at The Leon Schiller National Higher School of Film, Television and Theatre Lodz, Poland. This school is the most notable academy for up and coming actors, directors, camera operators and television personnel in Poland. Lodz launched the careers of Roman Polanski, Andrzej Wadja, Jerzy Skolimoski, and Krzysztof Zanussi.
Krzysztof first started making documentaries while in film school. These films concentrated on aspects of polish life, culture and political conditions under the then Communist party. In the 1960’s and 1907’s, Poland was still under communist control. Krzysztof used documentaries to express social consciences because they were viewed as artistic expression and commercially viable.
After several years of writing and producing documentaries Krzysztof made his first feature length television drama in 1975, “Personel”. Later that year also made a feature “Blizna”. It was not until 1979 with the feature “Amator” Kieslow...
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... bottle in the recycling bin with s sinister look on his face and does not help (in the spirit of freedom). He is thinking that she will get the bottle in there eventually (in the spirit of equality). Finally in Red, Valantine witness the old lady attempting to put the bottle in the recycling bin and help her. Valantine has compassion (in the spirit of fraternity).
Second, would be the signage on buildings. There are buildings with the names of the main character on them with respect of each movie. You would get a glimpse of the awning with the characters names on them when they would exit the buildings.
Third, is the main color scheme of each film. In each film there is a main color scheme that is used through out the film. In White it’s, white. In Blue, it’s blue. Finally, in Red, the main color scheme red. Each color represents the color of the French flag.
Grainge, P., Jancovich, M., & Monteith, S. (2012). Film Histories; An introduction and reader. Edinburgh: Edinburgh University Press.
Orr, John, and Elżbieta Ostrowska. The Cinema of Roman Polanski: Dark Spaces of the World. London: Wallflower, 2006. Print.
Statement of intent: This formal report was written with the intent of discussing the mise-en-scene element of film which is used in two of Wes Anderson’s most popular films. Both films The Grand Budapest Hotel (2014) and Moonrise Kingdom (2012) showcase the limited colour palette and costume aspects of mise-en-scene.
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
During the decades of Soviet rule in Russia the field of cinema was undeniably defined by the role that the state played in filmmaking, as the Soviet government had long used cinema as a means to expose the general public to Soviet ideology. However, following the collapse of the Soviet Union in 1991 the role of the state in filmmaking changed drastically, as filmmakers were now able to have true artistic freedom. As a result, many assumed that Russian cinema would be revolutionized, as some films evolved towards being more “American” in nature, with a higher tendency to be centered around action sequences or artistic statements by directors. One of the most notable of which is Aleksandr Sokurov’s 2002 classic Russian Ark, which re-enacted hundreds of years of Russian and Soviet history. And, as evidenced by the film’s glamorous portrayal of Russian history,
It is very important how you put things up on the screen. It tells the viewer what the movie is about. Every single frame in a movie tells the fate of the characters.
He attended the King George boarding school in Podebrady, (Biography). The school was meant for boys who were orphaned during the war, but a large amount of the students were not orphans. Many political parties donated to the school and with these large donations the headmaster was able to provide good teachers for the orphans. The school became one of the best in the country. It is at this school where we would meet many other soon to be famous directors such as Ivan Passer (Milos Forman). This was interesting that politicians were pouring money into a school that was meant for boys who lost their families during the way, but then their sons started to come to the school. Due to the immense amount of those donations, the headmaster could afford to have the best teachers, and it became the best high school in the country (Milos Forman). However, he began his career as a screen-writer. Milos began to prepare for his career when he enrolled in Prague Film Academy to study screen-writing (Biography).
Lazar, Mary. "Jerzy Kosinski's Being There, Novel and Film: Changes Not by Chance." Ebscohost. N.p., Spring 2004. Web. Mar.-Apr. 2014.
In 1969 Roman Polanski had finally become a success. After a youth devastated by the Holocaust, the loss of his parents, and a mugging that left him on the brink of death, the Polish-born director had moved to Hollywood. He was about to have his first child with his movie-star wife, Sharon Tate; and he had just released the blockbuster film Rosemary’s Baby.
Joseph Conrad was born in 1857 as Józef Teodor Konrad Korzeniowski in south-eastern Poland. He grew up during one of Poland’s most difficult times. The Polish people were oppressed by three imperial rulers. Joseph Conrad’s parents died as a result of the oppression imposed on the Polish population. Conrad ultimately left Poland mainly due to its political situation.
Aside from Darren Aronofsky’s ability to visually tell breathtaking stories, it is his formalistic style of filmmaking that has earned him his recognition in the film industry. Born on February 12, 1969 in Brooklyn, New York, Darren was a self described "Brooklyn Hip-Hop kid." His upbringing was marked by his Jewish heritage. Darren would paint graffiti art on subway cars and film going in Times Square. He had a lot of inspiration around him that led him to have a passion for film and all types of art. He had said himself that one of his biggest inspirations for becoming a director was Spike Lee’s film She’s Gotta Have It because of the relation between the New Yorkers in the film and his own experience in Brooklyn. After attending Harvard University, Aronofsky won many awards for his senior thesis film Super Market Sweep at the American Film Institute. Soon after he began writing Pi, which also had nominations for best cinematography, screenplay, and film, Aronofsky began his trademark of writing about characters that lead themselves to self-destruction. Self- destruction is clear in most of Aronofsky’s films like his latest film Black Swan that also won many awards and led actress, Natalie Portman to win the Oscar for Best Actress. His formalistic nature flows through each one of his films whether it is with special effects, or with the performance done by the actors.
Oscar Wild once said, “The truth is rarely pure and never simple” and he is right. But no matter what the outcome is, or how complex the truth is, we will always strive for the truth. The concept of truth is no stranger to film documentaries, and one filmmaker that certainty was aware of that was Dziga Vertov. During the 1920’s Vertov created a newsreel series to promote the concept of ‘Kinopravda” which translated to English mean “Film truth.” Unfortunately, Vertov was ahead of his time, and this concept disappeared along the filmmakers’ path. It wasn’t until the 1960’s that other filmmakers around the world once again recognized the importance of the truth. Two movements with the purpose of revealing the truth of life, emerge in different parts of the world, Direct Cinema in North America and Cinema Vérité in France. Although, both had the same purpose, their approaches towards getting the truth make them completely different. Cinema Vérité’s approach gave the filmmakers a chance to manipulate and distort reality by participating and observing at the same time, while Direct Cinemas approach was strictly observational, and there is no better way to find out the truth than observing without interfering.
Since the late 1890’s films have been constantly changing the history of pop culture and the way people view war, politics, and the world as a whole. As the timeline of the history of film progressed, there were many different phases: gothic noir, slapstick comedy, tragedy vs. love, romance, and many more. Towards the more recent times, the central ideas of films started drifting to the greatness of the directors. Directors such as Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many more were noted as outstanding directors of action and cinematography. In this paper I will speak about Wes Anderson, Martin Scorsese, and the ever so infamous Baz Luhrmann. These directors have changed the way filmmaking has been and will be looked at from this point on.
Art has been always seen as a form to express self emotions and ideas; an artist creates an idea and shapes it by culturally known objects and forms to send encrypted message. Through the times both, ideas and materials used, separates art in to different periods and movements. In late 40’s and late 50’s two art and culture movements emerged, one from another. The first one, Lettrism, was under the aspiration to rewrite all human knowledge. From it another movement, Situationism, appeared. It was an anti-art movement which sought for Cultural Revolution. Both of these movements belong to wide and difficulty defined movement of experiment, a movement whose field is endless. Many different people create experimental films because of the variety of reasons. Some wishes to express their viewpoints which are unconventional. But most of them have an enthusiasm for medium itself. They yearn to explore what prospects the medium has and wishes to open new opportunities to create and to explore, as well as to educate. Experimental filmmaker, differently from mainstream filmmakers, wishes to step out from the orthodox notions. The overall appreciation is not the aim that the experimental filmmakers would seek for. Experimenters usually work on the film alone or with a small group, without the big budget. They intend to challenge the traditional ideas. And with intention to do so Lettrism tries to narrow the distance between the poetry and people’s lives, while Situationism tries to transform world into one that would exist in constant state of newness. Both of these avant-garde movements root from similar sources and have similar foundations. Nonetheless, they have different intentions for the art and culture world and these movements...
Kafka was born in Prague, Bohemia, in Austro-Hungarian Empire, which is now the Czech Republic