No Wave Cinema came out of the punk rock scene and was defined more by attitude than style.

Filmmakers like Kembra Pfahler, Beth B, and Tommy Turner were influenced by the raw energy of punk music and the art world of New York City in the 1960s and 1970s.

No Wave Cinema was characterized by its gritty look, use of non-professional actors, and edgy themes. 

No Wave filmmakers had a do-it-yourself (DIY) approach to their work. They didn’t care about money or fame; their goal was to create something that could be appreciated by a small group of people.

some notable films of this era are:

• The Blank Generation (1976)
• Rome 78 (1978)
• The Driller Killer (1979)
• Permanent Vacation (1980)

As well as some famous directors such as:

Jim Jarmusch, Tom DiCillo, Steve Buscemi, and Vincent Gallo

The British New Wave was a movement among young British filmmakers of the late 1950s and early 1960s who had grown up watching American and European art films and were inspired to make more of their own. The movement had an emphasis on social realism and naturalism, as well as a tendency to focus on working class characters and settings. 

British New Wave films were made outside of studio control, studios rarely wanted to distribute them and so because of this, they were often shown in small specialty theatres or at film festivals. 

The British New Wave was characterised by many of the same stylistic and thematic conventions as the French New Wave. Usually in black and white, these films had a spontaneous quality, often shot in a pseudo-documentary / fake documentary, style on real locations and with real people rather than extras, apparently capturing life as it happens.  

The key characteristics of British New Wave Cinema include: 

• An emphasis on the gritty, often grimy reality of life 
• The use of nonprofessional actors with naturalistic performances 
• A focus on social issues and marginalized groups (e.g., immigrants) 
• The use of location shooting to capture authentic regional accents and settings 
• An emphasis on realism over artifice and stylization 

A few films and directors that came from British New Wave Cinema Era: 

• Saturday Night and Monday Morning (1960) – Dir. Karel Reisz
• Billy Liar (1963) – Dir. John Schlesinger
• This Sporting Life (1963) – Dir. Lindsay Anderson
• A Taste of Honey (1961) – Dir. Tony Richardson
• Look Back in Anger (1959) – Dir. Tony Richardson

The Breakfast Club was influenced by Soviet film, specifically the use of montage. The film uses montage to demonstrate the passing of time while the students are in detention.

The Breakfast Club uses rhythmic montage in its famous dance sequence, it is an example of a montage that conveys a sense of togetherness.

MAD MAX: FURY ROAD (2015)

George Miller’s 2015 Mad Max is the forth instalment in the franchise and pairs visually striking cinematography with fast-paced editing which keeps the momentum of the movie continuous and spontaneous. ‘Mad Max: Fury Road‘, whether it being consciously or sub-consciously, exhibits many influences from late German Expressionism. The stark and ghoulish make-up of the War Boys demonstrates clear similarities with early German expressionist character makeup, for example Cesare from ‘The Cabinet of Dr. Caligari‘ and The Cashier from ‘From Mourn to Midnight‘.

Clear influences can also be seen in the over-exaggerated settings, expressive character types and visually telling costume choices. The setting design in Mad Max offers connotations of German expressionism through its’ purposeful and dramatic nature, often visualising the turmoil and agitation which saturates the characters’ thoughts and actions. Many shots from cinematographer John Seale feature aspects of the set obscuring the view of the characters or acting as a visual barrier between character and audience; this use of setting and blocking of the characters as a storytelling device (highlighted in pictures 1 & 2 down) reminisces techniques of German expressionism where the relationship between setting and character are used to further accentuate key themes or character elements.

MULHOLLAND DRIVE (2001)

Metric Editing – Based on the length of a shot. It creates the tempo of the film.

The iconic training montage of Rocky uses metric editing combining the length of the shots and the music to create a music video feel.

Rhythmic Montage – Based on both the length of a show and the dynamics of the scene. This technique considers the need to provide continuity of action within a scene.

The final scene of Whiplash uses fast cut editing matching the beat of the music that the character is playing.

Tonal Editing Montage – Focuses in the light, shadows, and colours of the edited scenes to provide an overall “mood”.

Battleship Potemkin is a film made entirely out of montage.

Over-Tonal Method – Brings together the first three methods (time/rhythm/colour) in a combined (holistic) approach.

In the movie UP. When the wife passes away a montage is shown. The use of music, colour and shot length created an over-tonal method. This combines different elements of film to create a mood.

The Intellectual Method – The most complex method and Eisenstein’s favourite – Creates new meaning by combining shots on the basis of a conceptual connection between them.

The Kuleshov effect is an intellectual montage. It’s use of this is in many films now a days.

This is the world’s oldest film school which was founded in 1919 making it 103 years old.

It is still active and offering many courses at specialist degree level with one masters degree option.

Constructivism is an early twentieth-century art movement founded in 1915 by Vladimir Tatlin and Alexander Rodchenko. Abstract and austere, constructivist art aimed to reflect modern industrial society and urban space. The movement rejected decorative stylization in favor of the industrial assemblage of materials

These images were made to get away from the bourgeois elements that Lenin thought realistic art had and moved towards abstract art that anyone could gather meaning from.

Identify at least one or more films which appear to have been influenced by the visual style of classic Soviet Constructivist Cinema.

              The Breakfast Club:

Soviet Constructivism Cinema used a lot of montages. In ‘The Breakfast Club’ montages are constantly used to show the passage of time of the students in detention.

Battleship Potemkin:

 The dominance of red and black was used in many Soviet films. In ‘Battleship Potemkin’ the whole film is in black but there are clear thing such as a red flag and blood which represent the alertness of the colour red.

watch it here – dr caligari – the fortune teller.avi

https://web.microsoftstream.com/video/eb66ed41-b88e-4495-abbf-ea4527b9883b