🎥Film Aesthetics Unit 12 – Film Movements: Aesthetic Influences

Key Film Movements

• German Expressionism emerged in the 1920s characterized by distorted sets, high-contrast lighting, and exaggerated performances to convey inner turmoil and psychological states
  • Emphasized subjective emotions over objective reality
  • Influenced later genres like film noir and horror
• French New Wave (Nouvelle Vague) began in the late 1950s rejected traditional filmmaking conventions in favor of experimentation and personal expression
  • Filmmakers like Jean-Luc Godard and François Truffaut challenged the "cinema of quality" with unconventional techniques (jump cuts, long takes)
• Italian Neorealism developed after World War II depicted the struggles of everyday people in a documentary-like style using non-professional actors and location shooting
  • Focused on social and economic issues in post-war Italy (poverty, unemployment)
  • Influenced later movements like French New Wave and Cinema Novo
• Soviet Montage originated in the 1920s Soviet Union pioneered the use of editing to create meaning and emotional impact
  • Filmmakers like Sergei Eisenstein and Dziga Vertov believed in the power of montage to convey ideas and manipulate the audience's perception
• French Impressionism emerged in the 1920s emphasized visual poetry and the subjective experience of characters through innovative cinematography and editing techniques
  • Filmmakers like Abel Gance and Jean Epstein experimented with superimpositions, rapid editing, and camera movement to create a dreamlike atmosphere
• Cinema Novo (New Cinema) began in Brazil in the 1960s sought to create a distinctly Brazilian cinema that addressed social and political issues
  • Filmmakers like Glauber Rocha and Nelson Pereira dos Santos used low-budget production methods and a documentary-like style to critique social inequality and neo-colonialism

Historical Context

• Film movements often emerged in response to significant historical events, social changes, and technological advancements
• German Expressionism developed in the aftermath of World War I reflecting the psychological trauma and social upheaval experienced by the German people
  • The movement coincided with the Weimar Republic era (1918-1933) characterized by political instability, economic crisis, and cultural ferment
• French New Wave arose during the post-World War II period as a reaction against the conservative "tradition of quality" in French cinema
  • Influenced by existentialism, the movement reflected the youth culture and social changes of the 1950s and 1960s (rise of consumerism, sexual revolution)
• Italian Neorealism emerged in the wake of World War II as filmmakers sought to document the harsh realities of post-war Italy
  • The movement was influenced by the resistance against Fascism and the desire to create a more socially engaged cinema
• Soviet Montage developed during the early years of the Soviet Union as filmmakers sought to create a new socialist art form
  • The movement was influenced by the Russian Revolution and the ideas of Marxism-Leninism emphasizing the collective over the individual
• French Impressionism flourished in the 1920s during a period of artistic experimentation and cultural exchange between France and other European countries
• Cinema Novo emerged in the 1960s during a period of political upheaval and social change in Brazil
  • The movement was influenced by Marxism, anti-imperialism, and the desire to create a cinema that reflected Brazilian culture and identity

Visual Styles and Techniques

• German Expressionism used distorted sets, high-contrast lighting, and exaggerated performances to create a sense of unease and psychological distress
  • Filmmakers like Robert Wiene and F.W. Murnau employed chiaroscuro lighting, painted shadows, and angular compositions to convey inner turmoil
• French New Wave rejected traditional continuity editing in favor of jump cuts, long takes, and handheld camera work
  • Filmmakers like Jean-Luc Godard and François Truffaut used these techniques to create a sense of spontaneity and realism
  • The movement also incorporated elements of other art forms (jazz, literature) into the visual style
• Italian Neorealism used location shooting, natural lighting, and non-professional actors to create a documentary-like aesthetic
  • Filmmakers like Vittorio De Sica and Roberto Rossellini employed long takes, deep focus cinematography, and a minimalist style to convey the struggles of everyday people
• Soviet Montage pioneered the use of editing to create meaning and emotional impact
  • Filmmakers like Sergei Eisenstein and Dziga Vertov used rapid cutting, dialectical montage, and intellectual montage to convey ideas and manipulate the audience's perception
  • The movement also experimented with graphic matches, superimpositions, and associative editing
• French Impressionism used innovative cinematography and editing techniques to create a dreamlike atmosphere and convey the subjective experience of characters
  • Filmmakers like Abel Gance and Jean Epstein employed superimpositions, rapid editing, and camera movement to create a sense of visual poetry
• Cinema Novo used handheld camera work, location shooting, and a documentary-like style to create a sense of immediacy and social realism
  • Filmmakers like Glauber Rocha and Nelson Pereira dos Santos employed long takes, natural lighting, and a minimalist aesthetic to critique social inequality and neo-colonialism

Influential Filmmakers

• German Expressionism:
  • Robert Wiene directed The Cabinet of Dr. Caligari (1920) considered a quintessential example of the movement with its distorted sets and psychological themes
  • F.W. Murnau directed Nosferatu (1922) and Sunrise (1927) known for his use of chiaroscuro lighting and symbolism
  • Fritz Lang directed Metropolis (1927) and M (1931) blending expressionist techniques with social commentary
• French New Wave:
  • Jean-Luc Godard directed Breathless (1960) and Contempt (1963) known for his innovative use of jump cuts, handheld camera work, and self-reflexive techniques
  • François Truffaut directed The 400 Blows (1959) and Jules and Jim (1962) exploring themes of youth, love, and identity
  • Agnès Varda directed Cléo from 5 to 7 (1962) and Le Bonheur (1965) known for her feminist perspective and experimental style
• Italian Neorealism:
  • Vittorio De Sica directed Bicycle Thieves (1948) and Umberto D. (1952) portraying the struggles of working-class characters with empathy and realism
  • Roberto Rossellini directed Rome, Open City (1945) and Paisan (1946) documenting the aftermath of World War II in Italy
  • Luchino Visconti directed La Terra Trema (1948) and Rocco and His Brothers (1960) known for his operatic style and critique of social hierarchies
• Soviet Montage:
  • Sergei Eisenstein directed Battleship Potemkin (1925) and October (1928) pioneering the use of dialectical montage and intellectual montage
  • Dziga Vertov directed Man with a Movie Camera (1929) experimenting with associative editing and the "kino-eye" concept
  • Vsevolod Pudovkin directed Mother (1926) and Storm Over Asia (1928) known for his use of symbolic montage and psychological realism
• French Impressionism:
  • Abel Gance directed La Roue (1923) and Napoleon (1927) experimenting with rapid editing, multiple camera setups, and triptych screens
  • Jean Epstein directed Coeur Fidèle (1923) and The Fall of the House of Usher (1928) known for his use of slow motion, superimpositions, and subjective camera work
  • Germaine Dulac directed The Smiling Madame Beudet (1923) and The Seashell and the Clergyman (1928) exploring female subjectivity and the unconscious
• Cinema Novo:
  • Glauber Rocha directed Black God, White Devil (1964) and Antonio das Mortes (1969) known for his revolutionary politics and allegorical style
  • Nelson Pereira dos Santos directed Rio 40 Graus (1955) and Vidas Secas (1963) portraying the lives of marginalized communities in Brazil
  • Ruy Guerra directed The Unscrupulous Ones (1962) and The Guns (1964) blending neorealist techniques with political commentary

Iconic Films and Examples

• German Expressionism:
  • The Cabinet of Dr. Caligari (Robert Wiene, 1920) used distorted sets and high-contrast lighting to create a nightmarish atmosphere reflecting the psychological state of the characters
  • Nosferatu (F.W. Murnau, 1922) adapted Bram Stoker's Dracula using expressionist techniques to create a sense of horror and unease
  • Metropolis (Fritz Lang, 1927) depicted a dystopian future city divided between the wealthy elite and the oppressed working class using stylized sets and visual effects
• French New Wave:
  • Breathless (Jean-Luc Godard, 1960) used jump cuts, handheld camera work, and self-reflexive techniques to create a sense of spontaneity and modernity
  • The 400 Blows (François Truffaut, 1959) portrayed the life of a troubled adolescent using location shooting and a documentary-like style
  • Cléo from 5 to 7 (Agnès Varda, 1962) followed a young singer in real-time as she awaits the results of a medical test using subjective camera work and experimental techniques
• Italian Neorealism:
  • Bicycle Thieves (Vittorio De Sica, 1948) portrayed the struggles of a working-class father and son in post-war Rome using non-professional actors and location shooting
  • Rome, Open City (Roberto Rossellini, 1945) depicted the resistance against Nazi occupation in Rome using a documentary-like style and a sense of moral urgency
  • La Terra Trema (Luchino Visconti, 1948) portrayed the lives of Sicilian fishermen using a mix of professional and non-professional actors and a operatic visual style
• Soviet Montage:
  • Battleship Potemkin (Sergei Eisenstein, 1925) used dialectical montage to convey the story of a naval mutiny and the subsequent massacre of civilians on the Odessa Steps
  • Man with a Movie Camera (Dziga Vertov, 1929) experimented with associative editing and the "kino-eye" concept to create a portrait of urban life in the Soviet Union
  • Earth (Alexander Dovzhenko, 1930) used poetic imagery and symbolic montage to convey the collectivization of agriculture in Ukraine
• French Impressionism:
  • La Roue (Abel Gance, 1923) used rapid editing, multiple camera setups, and triptych screens to convey the psychological state of the characters and the sensations of movement
  • Coeur Fidèle (Jean Epstein, 1923) used slow motion, superimpositions, and subjective camera work to convey the inner emotions of the characters
  • The Smiling Madame Beudet (Germaine Dulac, 1923) used subjective camera work and visual metaphors to convey the inner life of a bourgeois housewife
• Cinema Novo:
  • Black God, White Devil (Glauber Rocha, 1964) used allegorical storytelling and a mix of documentary and fiction techniques to critique the social and political conditions in Brazil
  • Vidas Secas (Nelson Pereira dos Santos, 1963) portrayed the struggles of a family of landless farmers in the Brazilian sertão using a neorealist style and sparse dialogue
  • The Unscrupulous Ones (Ruy Guerra, 1962) used handheld camera work and a fragmented narrative to convey the violence and corruption of Brazilian society

Themes and Narratives

• German Expressionism often explored themes of psychological distress, social decay, and the dark side of human nature
  • The Cabinet of Dr. Caligari used the story of a mad hypnotist and a sleepwalker to comment on the dangers of authoritarianism and the instability of reality
  • Metropolis depicted the struggle between the wealthy elite and the oppressed working class in a dystopian future city
• French New Wave films often explored themes of youth, love, and identity in a modern, urban setting
  • Breathless followed the story of a young criminal and his American girlfriend in Paris, subverting traditional gender roles and moral codes
  • The 400 Blows portrayed the life of a troubled adolescent in Paris, exploring themes of rebellion, alienation, and the search for identity
• Italian Neorealism often portrayed the struggles of working-class and marginalized communities in post-war Italy
  • Bicycle Thieves followed the story of a father and son searching for a stolen bicycle in Rome, highlighting the desperation and moral dilemmas faced by the working class
  • Rome, Open City depicted the resistance against Nazi occupation in Rome, exploring themes of sacrifice, solidarity, and the human cost of war
• Soviet Montage films often conveyed political and ideological messages through the use of editing and visual symbolism
  • Battleship Potemkin used the story of a naval mutiny to convey the power of collective action and the struggle against oppression
  • Earth celebrated the collectivization of agriculture in Ukraine, using poetic imagery and symbolic montage to convey the harmony between humans and nature
• French Impressionism often explored the subjective experience of characters and the fleeting nature of perception
  • La Roue used rapid editing and multiple camera setups to convey the psychological state of the characters and the sensations of movement
  • Coeur Fidèle used slow motion and superimpositions to convey the inner emotions of the characters and the impressionistic nature of memory
• Cinema Novo films often critiqued the social and political conditions in Brazil, using allegorical storytelling and a mix of documentary and fiction techniques
  • Black God, White Devil followed the story of a poor farmer who joins a religious cult in the Brazilian sertão, using allegory to critique the exploitation of the peasantry by the ruling class
  • Vidas Secas portrayed the struggles of a family of landless farmers in the Brazilian sertão, using a neorealist style to convey the harsh realities of poverty and oppression

Impact on Modern Cinema

• German Expressionism had a significant influence on later genres like film noir and horror
  • The use of high-contrast lighting, distorted sets, and psychological themes can be seen in films like Citizen Kane (Orson Welles, 1941) and The Night of the Hunter (Charles Laughton, 1955)
  • Expressionist techniques have also been used in modern horror films like The Babadook (Jennifer Kent, 2014) and The Lighthouse (Robert Eggers, 2019)
• French New Wave had a lasting impact on international art cinema and independent filmmaking
  • The use of handheld camera work, jump cuts, and self-reflexive techniques can be seen in films like Pulp Fiction (Quentin Tarantino, 1994) and Run Lola Run (Tom Tykwer, 1998)
  • The movement's emphasis on personal expression and authorial vision has influenced generations of filmmakers, from Martin Scorsese to Wes Anderson
• Italian Neorealism had a significant influence on later movements like French New Wave and Cinema Novo
  • The use of non-professional actors, location shooting, and a documentary-like style can be seen in films like The Battle of Algiers (Gillo Pontecorvo, 1966) and City of God (Fernando Meirelles and Kátia Lund, 2002)
  • Neorealist techniques have also been used in modern social realist films like Rosetta (Jean-Pierre and Luc Dardenne, 1999) and Parasite (Bong Joon-ho, 2019)
• Soviet Montage had a lasting impact on the use of editing in cinema
  • The theories of Eisenstein and Vertov have influenced generations of filmmakers and editors, from Alfred Hitchcock to Martin Scorsese
  • The use of associative editing and intellectual montage can be seen in films like Koyaanis