ENGL 6750/7750 Film Studies
National Cinemas
Australia
China
Denmark
England
France
Germany
Film Studies: National Cinemas
Always problematic
The example of East Germany
The example of South Africa (under Apartheid)
Decolonization
Third Cinema
Imported filmmakers—Chaplin, Hitchcock, Ang Lee
And the Transnational: Bollywood, Kung Fu Films, American films
The Hollywood/World Cinema dichotomy
American film’s borrowing (Kill Bill)
National status through setting, story (setting ≠ on location): the examples
of Scotland and Africa
Multi-nation partnership: Advance Party
Not identifying with the nation: Québécois
National cinemas and awards, film festivals
Film Studies: National Cinemas
Australian Cinema
xxxxx
Film Studies: National Cinemas
Australian Cinema
Did not begin in the 1970s
British-backed
Australia as a setting
Aborigines—Rabbit Proof Fence (Philip Noyce, 2002)
Six Landmarks:
Walkabout (1971)
Picnic at Hanging Rock (1975)
Crocodile Dundee (Peter Faiman, 1986)
Priscilla, Queen of the Desert (Stephan Elliott, 1994)
Muriel’s Wedding (P. J. Hogan, 1994)
Wolf Creek (Greg McLean, 2005)
Film Studies: National Cinemas--Australia
Gillian Armstrong (1950- )
My Brilliant Career
Starstruck
Mrs. Soffel
High Tide
Fires Within
Oscar and Lucinda
Film Studies: National Cinemas--Australia
Bruce Beresford (1940- )
The Getting of Wisdom
Breaker Morant
Tender Mercies
Crimes of the Heart
The Fringe Dwellers
Driving Miss Daisy
Film Studies: National Cinemas--Australia
Baz Luhrman (1962- )
Strictly Ballroom
Romeo + Juliet
Moulin Rouge!
Australia
Film Studies: National Cinemas--Australia
Jane Campion (1954- )
Sweetie
The Piano
Portrait of a Lady
In the Cut
Film Studies: National Cinemas--Australia
George Miller (1945- )
Mad Max
The Road Warrior
Mad Max: Beyond Thunderdome
The Witches of Eastwick
Lorenzo’s Oil
Babe
Babe: Pig in the City
Happy Feet
Happy Feet 2
Film Studies: National Cinemas--Australia
Philip Noyce (1950- )
Dead Calm
Patriot Games
Clear and Present Danger
The Saint
The Bone Collector
Rabbit-Proof Fence
The Quiet American
Salt
Film Studies: National Cinemas--Australia
Alex Proyas (1963- )
The Crow
Dark City
I, Robot
Knowing
Dracula-Year Zero
Film Studies: National Cinemas--Australia
Fred Schepisi (1939- )
The Chant of Jimmie Blacksmith
Barbarosa
Plenty
Roxanne
A Cry in the Dark
Six Degrees of Separation
Fierce Creatures
Film Studies: National Cinemas--Australia
Peter Weir (1944- )
Picnic at Hanging Rock
The Last Wave
Gallipoli
The Year of Living Dangerously
Witness
The Mosquito Coast
Dead Poets Society
The Truman Show
Master and Commander
Film Studies: National Cinemas
British Cinema
The problem of the US
Protectionism
Ealing Studios Comedy (compare to Capra)
Hammer Horror
Social Realism: Angry Young Men, Kitchen Sink, Free Cinema
Lean, Merchant/Ivory, James Bond
Film Studies: National Cinemas—England
Lindsay Anderson (1923-1994)
This Sporting Life
If
O Lucky Man!
Free Cinema


1.
2.
3.
4.
5.
6.
7.
Documentary film movement originating in England, 19561959
Spawned by the journal Sequence.
Founders: Lindsay Anderson, Karel Reisz, Tony Richardson,
Anderson’s motto: "No Film Can Be Too Personal.”
Governing principles:
Freedom of propaganda
Obliviousness to box office appeal.
Embrace of the filmmaker’s freedom
Ordinary people and everydayness—the primary focus
“The image speaks. Sound amplifies and comments.”
“Size is irrelevant.”
“Perfection is not an aim.”
8.
“An attitude means a style. A style means an attitude.”


Film Studies: National Cinemas—England
Danny Boyle (1956- )
Trainspotting
28 Days Later
The Beach
Sunshine
Slumdog Millionaire
Film Studies: National Cinemas—England
John Boorman (1933- )
Point Blank
Deliverance
Zardoz
Exorcist II
Excalibur
Hope and Glory
Beyond Rangoon
The General
The Tailor of Panama
The Wonderful Wizard of Oz
Film Studies: National Cinemas—England
Terence Davies (1945- )
Distant Voices, Still Lives
The Long Day Closes
House of Mirth
Of Time and the City
Film Studies: National Cinemas—England
Derek Jarman (1942-1994)
Sebastiane
Jubilee
The Tempest
Caraveggio
The Last of England
War Requiem
Edward II
Wittgenstein
Film Studies: National Cinemas—Scotland
Bill Forsyth (1946- )
That Sinking Feeling
Gregory’s Girl
Local Hero
Comfort and Joy
Housekeeping
Being Human
Film Studies: National Cinemas—Ireland
Neil Jordan (1950- )
The Company of Wolves
Mona Lisa
The Crying Game
Interview with a Vampire
Michael Collins
In Dreams
The Good Thief The Butcher Boy
The Brave One
Film Studies: National Cinemas—England
David Lean (1908-1991)
Lawrence of Arabia
Doctor Zhivago
Bridge Over the River Kwai
A Passage to India
Film Studies: National Cinemas—England
Mike Leigh (1943- )
High Hopes
Life is Sweet
Naked
Secrets and Lies
Career Girls
Topsy-Turvy
Vera Drake
Happy-Go-Lucky
Film Studies: National Cinemas—England
Ken Loach (1936- )
Cathy Come Home
Kes
Hidden Agenda
Bread and Roses
My Name is Joe
The Wind That Shakes the Barley
Film Studies: National Cinemas—England
Merchant/Ivory
Ismail Merchant (1936-2005)
James Ivory (1928-)
Shakespeare Wallah
The Europeans
The Bostonians
A Room with a View
Howards End
The Remains of the Day
The Golden Bowl
Film Studies: National Cinemas—England
Sally Potter (1949- )
Thriller
London Story
Orlando
The Tango Lesson
The Men Who Cried
Yes
Rage
Film Studies: National Cinemas—England
Carol Reed (1906-1976)
The Third Man
Our Man in Havana
The Agony and the Ecstasy
Oliver!
Film Studies: National Cinemas—England
Tony Richardson (1928-1991)
Look Back in Anger
A Taste of Honey
The Loneliness of the Long Distance
Runner
Tom Jones
Ned Kelly
The Hotel New Hampshire
Film Studies: National Cinemas—England
Guy Ritchie (1968- )
Lock, Stock, and Two Smoking Barrels
Snatch
Swept Away
RocknRolla
Sherlock Holmes
Film Studies: National Cinemas—England
Nicholas Roeg (1928- )
Walkabout
Performance
The Man Who Fell to Earth
Don’t Look Now
Track 29
Witches
Film Studies: National Cinemas—England
Ken Russell (1928- )
Women in Love
Liztomania
Tommy
Altered States
Savage Messiah
The Music Lovers
The Devils
Mahler
Valentino
Gothic
Rainbow
Film Studies: National Cinemas
Chinese Cinema
China, Film, and the West—In the new cities: Hong Kong, Shanghai
(see next slide)
Banning Kung Fu to Hong Kong
Social Realism (before 1949)/The Operatic/Chinese Folklore
Maoist Realism: Shanghai Steel Factory Increases Productivity by 25%
A Movie Date in Shanghai in 1980 (see next slide)
New Waves everywhere
The Cultural Revolution
Fifth and Sixth Generations
Opening Up to the West
Judging a Documentary Competition:
http://thelaverytory.blogspot.com/2006/11/remarks-in-china.html
Film Studies: National Cinemas
My Students, East China Normal University
Shanghai, 1981
Film Studies: National Cinemas
Shanghai
Then and Now
(1990, 2010)
Film Studies: National Cinemas—China/Hong Kong/Taiwan
Zhang Yimou (1950- )
Red Sorghum
Ju Dou
Raise the Red Lantern
Shanghai Triad
Hero
House of Flying Daggers
A Woman, a Gun, and a Noodle Shop
ENGL 6750/7750 Film Studies
Hollywood Cinema and Beyond
ENGL 6750/7750 Film Studies
Hollywood Cinema and Beyond
Film Studies: National Cinemas—China/Hong Kong/Taiwan
Ang Lee (1954- )
The Wedding Bouquet
Eat Drink Man Woman
Sense and Sensibility
The Ice Storm
Crouching Tiger, Hidden Dragon
Hulk
Brokeback Mountain
Taking Woodstock
Life of Pi
Film Studies: National Cinemas
Danish Cinema
Dogme 95
Film Studies: National Cinemas: Danish Cinema
“Dogme 95 is an avant-garde filmmaking movement started in 1995 by
the Danish directors Lars von Trier and Thomas Vinterberg, who
created the "Dogme 95 Manifesto" and the "Vow of Chastity". These
were rules to create filmmaking based on the traditional values of
story, acting and theme, and excluding the use of elaborate special
effects or technology.[1] They were later joined by fellow Danish
directors Kristian Levring and Søren Kragh-Jacobsen, forming the
Dogme 95 Collective or the Dogme Brethren. Dogme is the Danish word
for dogma.
The genre gained international appeal partly because of its
accessibility. It sparked an interest in unknown filmmakers by
suggesting that one can make a recognised film without being
dependent on commissions or huge Hollywood budgets, depending on
European government subsidies and television stations instead. The
movement has been criticised for being a disguised attempt to gain
media attention. Dogme was initiated to cause a stir and to make
filmmakers and audiences re-think the art, effect and essence of
Film Studies: National Cinemas—Denmark
Lars von Trier (1956- )
Breaking the Waves
Dancer in the Dark
Dogville
Manderley
Antichrist
Dr. Linda Badley’s book—Lars von Trier--is
forthcoming from U Illinois P
Film Studies: National Cinemas
French Cinema
Early prominence.
Beneficiary of Hollywood emergence.
Rene Clair, Marcel Carne, Jean Vigo, Jean Renoir
Poetic Realism
The New Wave (see the next slides)
New French Cinema
New French Extremism: French Horror
Film Studies: National Cinemas—France
Nouvelle vague/New
Wave
Resnais | Camus | Rohmer | Godard |
Malle | Truffaut
Film Studies: National Cinemas—France
New Wave
•The impact of Alexandre Astruc: cinema as “the art of the
age”; “camera-stylo” [camera-pen]
•André Bazin’s influence [Cahiers du Cinema]
•The break with literature
•Location shooting
•New approach to acting
•Independence from studios
•The centrality of the director (birth of the “auteur
theory”)
Film Studies: National Cinemas—France
Alice Guy (1873-1968)
Film Studies: National Cinemas—France
Luc Besson (1959- )
Nikita
Leon (The Professional)
The Fifth Element
The Messenger
Distrinct B13
Arthur and the Invisibles
Film Studies: National Cinemas—France
Marcel Carne (1906-1996)
Les Enfants du paradis
Film Studies: National Cinemas—France
René Clair (1906-1996)
Entr’acte
Un chapeau de paille d’Italie
A nous la liberte
Film Studies: National Cinemas—France
Robert Bresson (1901-1999)
Diary of a Country Priest
Trial of Joan of Arc
Film Studies: National Cinemas—France
Jean-Luc Godard (1930- )
Breathless
Weekend
The Chinese
Masculine/Feminine
Two or Three Things I Know About
Her
Film Studies: National Cinemas—France
Jean-Luc Godard
“The cinema is not an art which films life: the cinema is something
between art and life. Unlike painting and literature, the cinema both
gives to life and takes from it, and I try to render this concept in my
films. Literature and painting both exist as art from the very start; the
cinema doesn’t.”
“All you need for a movie is a gun and a girl.”
"Movies should have a beginning, a middle and an end,’ harrumphed
French filmmaker Georges Franju. . . ." "Certainly," replied Jean-Luc
Godard. "But not necessarily in that order."
Film Studies: National Cinemas—France
Louis Malle (1932-1995)
The Lovers
A Very Private Affair
Murmur of the Heart
Pretty Baby
Atlantic City
Au revoir les enfants
My Dinner with Andre
Damage
Film Studies: National Cinemas—France
Jean Renoir (1894-1979)
Babu Saved from Drowning
Rules of the Game
Grand Illusion
Film Studies: National Cinemas—France
Alain Resnais (1922- )
Night and Fog
Last Year at Marienbad
Hiroshima, Mon Amour
Mon oncle d'Amérique
Film Studies: National Cinemas—France
Éric Rohmer (1920-2010)
La Collectionneuse (The Collector)
Ma Nuit chez Maud (My Night with Maud)
Le Genou de Claire (Claire's Knee)
L'Amour l'après-midi (Chloe in the Afternoon,
Love in the Afternoon)
Die Marquise von O... (The Marquise of O)
Le Signe du lionLa Femme de l'aviateur (The
Aviator's Wife)
Le Beau marriage (A Good Marriage)
Pauline à la plage (Pauline at the Beach)
Le Rayon vert (The Green Ray) Conte de
printemps (A Tale of Springtime)
Conte d'hiver (A Winter's Tale)
Conte d'été (A Summer's Tale) Conte
d'automne (Autumn Tale)
Film Studies: National Cinemas—France
Jacques Tati (1907-1982)
Monsieur Hulot on Holiday
Mon Oncle
Playtime
Trafic
Parade
Film Studies: National Cinemas—France
François Truffaut (1932-1984)
400 Blows
Jules and Jim
Day for Night
Shoot the Piano Player
Role in Close Encounters of the
Third Kind
ENGL 6750/7750 Film Studies
400 Blows
(Truffaut, 1959)
Hollywood Cinema and Beyond
Film Studies: National Cinemas—France
Jean Vigo (1905-1934)
Zero de Conduite
L’Atalante
Film Studies: National Cinemas
German Cinema
F. W. Murnau
Cabinet of Dr. Caligari (Robert Wiene, 1919)
German Expressionism
From Caligari to Hitler (Siegfried Kracauer)
New German Cinema
The Burden of History
Film Studies: National Cinemas—Germany
Rainer Werner Fassbinder (1945-1982)
The Bitter Tears of Petra von Kant
The Marriage of Maria Braun
Ali: Fear Eats the Soul
Effi Briest
Despair
Berlin Alexanderplatz
Film Studies: National Cinemas—Germany
Werner Herzog (1942- )
Even Dwarfs Started Small
Aquirre, the Wrath of God
Every Man for Himself and God Against All
Heart of Glass
Nosferatu
Fitzcarraldo
Grizzly Man
Bad Lieutenant: Port of Call New Orleans
Rescue Dawn
Film Studies: National Cinemas—Germany, US
Fritz Lang (1890-1976)
M
Metropolis
Dr. Mabuse
The Big Heat
Clash by Night
Rancho Notorious
Scarlet Street
The Woman in the Window
Film Studies: National Cinemas—Germany
Leni Riefenstahl (1902-2003)
Triumph of the Will
Olympia
Film Studies: National Cinemas—Germany,
Tom Tykwer (1965- )
Run, Lola, Run
Perfume
The International
Film Studies: National Cinemas—Germany
Wim Wenders (1945- )
Alice in the Cities
The American Friend
Tokyo-Ga
The State of Things
Paris, Texas
Wings of Desire
Until the End of the World
Buena Vista Social Club
ENGL 6750/7750 Film Studies
National Cinemas
Hong Kong
Ireland
Italy
Japan
Mexican
Russia
Spain
Film Studies: National Cinemas
Hong Kong Cinema
Hong Kong’s status in relation to China and Chinese cinema
Main genres: gangster, martial arts, comedy
Exportable Stars: Jet Li., Michelle Yeoh, Jackie Chan
Bowfinger (Frank Oz, 1999)
Kung-Fu Hustle (Stephen Chow, 2004).
Film Studies: National Cinemas—Hong Kong
Wong Kar-Wai (1958- )
As Tears Go By
Chungking express
In the Mood for Love
2046
Eros
Film Studies: National Cinemas—Hong Kong
John Woo (1946- )
The Killer
Bullet in the Head
Hard Target
Face/Off
Mission Impossible 2
Windtalkers
Paycheck
Film Studies: National Cinemas
Irish Cinema
Ireland in relation to England
National cinema: long-time coming
Freedom (1920) and then censorship
The Quiet Man (John Ford, 1952)
Turn from art film to realism: Sheridan, Jordan
Film Studies: National Cinemas—Ireland
Neil Jordan (1950- )
The Company of Wolves
Mona Lisa
The Crying Game
Interview with a Vampire
Michael Collins
In Dreams
The Good Thief The Butcher Boy
The Brave One
Film Studies: National Cinemas—Ireland
Jim Sheridan (1949- )
My Left Foot
The Field
In the Name of the Father
The Boxer
In America
“David Lavery, “The Strange Text of My Left Foot.” Literature/Film
Quarterly 21.3 (1993): 194-99.
Film Studies: National Cinemas
Italian Cinema
Early flair for the epic—influence on Griffith
Stars: divi/dive—gods and goddesses
Sophia Loren (on the right in 1962, 2009)
Neo-Realism
Spaghetti Westerns
Muscular Mythology
Film Studies: National Cinemas—Ireland
Neo-Realism
Post-war infatuation with the quotidian
A defeated nation’s voice
Italy under allied control
No real centralized film industry
Visual authenticity
Against dramatic illusionism
Zavattini’s dream of filming a day in the life
Post-synchronization/dubbing (and Fellini)
Lack of box-office appeal—no drama
Marxist tendencies
Building a bridge v. crossing a river by stepping on stones
Film Studies: National Cinemas—Ireland
Neo-Realism
“[The neo-realists] are concerned to make cinema the
asymptote of reality but in order that it should
ultimately be life itself that becomes spectacle, in
order that life might in this perfect mirror be visible
poetry, be the self into which film finally changes it.”
--Andre Bazin, What is Cinema?
Roberto Rossellini | Vittorio De Sica
Cesare Zavattini | Federico Fellini
Film Studies: National Cinemas
Neo-Realism
The Movement’s Chief
Theoretician: Cesare
Zavattini
Film Studies: National Cinemas
Neo-Realism
De Sica and Zavattini
Film Studies: National Cinemas--Italy
Michelangelo Antonioni (1912-2007)
L’Notte
L’Ecclise
L’Avventura
Blow-Up
Zabriskie Point
The Passenger
Chung Kuo, Cina
Film Studies: National Cinemas--Italy
Film Studies: National Cinemas--Italy
Roberto Rossellini (1906-1977)
Open City
Film Studies: National Cinemas--Italy
Vittorio de Sica (1902-1974)
Umberto D
The Bicycle Thief
Film Studies: National Cinemas--Italy
Pier Paolo Pasolini (1922-1975)
Accatone
The Decameron
The Canterbury Tales
The Thousand One Nights
The Hundred and Twenty Days of Sodom
Film Studies: National Cinemas--Italy
Sergio Leone (1929-1989)
The Good, the Bad, and the Ugly
High Plains Drifter
A Fistful of Dollars
For a Few Dollars More
Once Upon a Time in the West
Once Upon a Time in America
Film Studies: National Cinemas--Italy
Luchino Visconti (1906-1976)
The Leopard
Death in Venice
Film Studies: National Cinemas--Italy
Federico Fellini (1920-1993)
I Vitelloni
Il Bidone
The Nights of Cabiria
La Strada
La Dolce Vita
8 1/2
Juliet of the Spirits
Fellini-Satyricon
Roma
Amarcord
Fellini Power Point
Film Studies: National Cinemas
Japanese Cinema
Electric Shadows—first paragraph on 238
Is Asian cinema different—as Asian art is different
Japan vs. China
Watching the projector—surmounting illusionism
The highly stylized
Early narrators (intentionally vague—to allow the narrator freedom)
Love of the long-take, infatuation with mise-en-scene
Home Drama
Seasoning (Cook 239)
Modernist or Buddhist? The 2nd World War
Japanese New Wave
Film Studies: National Cinemas
One Corner Style/Mu: “the empty space in
traditional painting [which] carries deeper Taoist
and Buddhist connotations of ‘void’ or infinity”
[Cook, 238].
Film Studies: National Cinemas--Japan
Kenji Mizoguchi (1890-1856)
Ugetsu
Film Studies: National Cinemas--Japan
Akira Kurosowa (1910-1998)
Scandal
Rashomon
Ikiru
Seven Samurai
Throne of Blood
The Hidden Fortress
Yojimbo
Red Beard
Kagemusha'
Ran
Dreams
Film Studies: National Cinemas--Japan
Yasujiro Ozu (1930-1963)
Tokyo Story
Ozu “privileges space over narration
in ways that include conssitently
using a 360 degree shooting space
instead of the 180 degree space of
classical cinema, foregrounding
objects that are not correspondingly
important in the narrative, and
cutting away to shot ands hot
dequences that, while related to
narrative, are not motivated by
it.”—Bordwell and Thompson
Film Studies: National Cinemas--Japan
Jūzō Itami (1933-1996)
Ososhiki (The Funeral)
Tampopo
Marusa no Onna (A Taxing Woman)
Minbo no Onna (Minbo—or the Gentle Art of Japanese Extortion)
Daibyonin (The Last Dance) (1993)
Film Studies: National Cinemas
Mexican Cinema
Film Studies: National Cinemas--Mexico
Alfonso Cuarón (1961- )
A Little Princess
Great Expectations
Y tu mamá también
Harry Potter and the Prisoner of Azkaban
Children of Men
Film Studies: National Cinemas--Mexico
Guillermo Del Toro (1964- )
Cronos
Mimic
The Devil's Backbone
Hellboy
Blade II
Pan's Labyrinth
The Orphanage
Hellboy II: The Golden Army
At the Mountains of Madness
Film Studies: National Cinemas
Soviet Cinema
Early supremacy: Eisenstein, Pudovkin, Vertov
Working under the dictatorship of the proletariat
Post-WWII Soviet Cinema: Propaganda vs. Art
The Russian Ark (Alexander Sokurov, 2002)
“An unnamed narrator, unseen by the audience and voiced by the director, wanders
through the Winter Palace (now the main building of Russian State Hermitage
Museum) in Saint Petersburg. The narrator implies that he has died in some horrible
accident and is a ghost drifting through the palace. In each room, he encounters
various real and fictional people from various time periods in the city's threehundred-year history. He is accompanied by "the European" (played by Sergei
Dreiden), who represents the nineteenth-century French traveller the Marquis de
Custine, and who is visible to the audience. The fourth wall is repeatedly broken
and re-erected; at times the narrator-director and the companion interact freely
with the other performers, and at other times, they go completely unnoticed.”
[Wikipedia]
Film Studies: National Cinemas—Soviet Union
Andrei Tarkovsky (1932-1986)
Andrei Rublev
Solaris
Stalker
Voyage in Time
Mirror
Nostalghia
The Sacrifice
Film Studies: National Cinemas
Spanish Cinema
The Spanish Civil War and its aftermath
Film Studies: National Cinemas: Spain
Pedro Almodóvar (1951- )
Pepi, Luci, Bom
Matador
Law of Desire
Women on the Verge of a Nervous Breakdown
Tie Me Up! Tie Me Down!
The Flower of My Secret
Live Flesh
All About My Mother
Talk to Her
Bad Education
Volver
Broken Embraces