New Hollywood questions

1)The term New Hollywood means cinema from the 1960’s where the creative aspect of films shifted from the studio to the director.

2) Some famous films from this era include Bonney and Clyde, Midnight cowboy and The Graduate.

Some famous actors included Woody Allen, Karen Black, Timothy Bottoms and Ned Beatty.

Famous directors of the era where names such as Hal Ashby, John Badham and the previously mentioned Woody Allen.

3)During this era, the Vietnam war was going on. The civil rights movement was also going on at this time.

New Hollywood 30/1/24

New Hollywood was a movement in the 60s to the 80s where a new generation of film makers took a different approach to filmmaking in which the film director took over the key role. financial setbacks and a decline in theater attendance created this urge for a change in the industry.

 Francis Ford CoppolaMartin ScorseseSteven Spielberg are all directors.

Al Pacino, Robert De Niro, Jack Nicholson, all acted.

Bonny and Clyde is a film from this era.

The studio system that thrived during Hollywood’s Golden Age died in the 1960s. Challenges in the form of TV, antitrust legislation, low admissions, and censorship had worn down the studios in the previous decade. But the 1960s brought a new challenge that proved too difficult to overcome. Cinemas then would make high budget productions just to get viewers back and win over from tv. This would then also create more trouble as a lot of money was lost in making the set.

New Hollywood

new Hollywood is a period of film in the 1930-1990 where technology used to make film were updated as well as more creative freedom for directors instead of large studios.

some examples of some films from this era include, bonne and Clyde and taxi driver. Some directors from this period include Robert Aldrich and Woody Allen. Some stars from this era are Ned Beatty and René Auberjonois.

During this time period many events occurred some being the civil rights movement with MLK. WW2 came to an end having the cold war be more of a threat with people fearing communism spreading into America. The Vietnam war also occurred inspiring many of the movies from this time.

New Hollywood

  1. New Hollywood- The New Hollywood, Hollywood Renaissance, American New Wave, or New American Cinema, was a movement in American film history from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence.

the biggest killer of the Golden Age of Hollywood was the beginning of the Golden Age of Television which was around 1947 through the 1960s. Generally speaking, the mid-1960s is often considered the end of both Golden Ages.

2.In addition to Coppola and Bogdanovich, New Hollywood (1970s) would help to launch the directorial careers of Dennis Hopper, John Sayles, Martin Scorsese, and Jonathan Demme, as well as actors such as Jack Nicholson, Bruce Dern and Robert De Niro.

The following is a chronological list of notable films that are generally considered to be “New Hollywood” productions.

Big stars of The New Hollywood era:

John Wayne, Glenn Ford, Clint Eastwood, Henry Fonda, Richard Widmark, Steve McQueen and Lee Marvin.

3. What happened in America 1960-1990?

  • John Kennedy Elected President. U-2 Spy Plane Shot Down Over Russia.
  • Berlin Wall Erected.
  • James Meredith Registers at University of Mississippi.
  • Kennedy Assassinated – Lyndon Johnson President.
  • Civil Rights Act.
  • First Spacewalks.

trainspotting micro elements

sound

in trainspotting various needle drops are used throughout the film. this is normally to set the tone or mood for the scene. one of the most prominent examples of this is the scene in the nightclub where atomic by sleeper plays in the background

editing

in trainspotting a vast majority of the editing is used when Renton is withdrawing from heroine. this is done so we can see how Renton is feeling as he is hallucinating and obviously feeling nauseous.

mise en scene

in this scene mise en scene is used to show a typical pub in the 1990 as how begbie reacts when he is drunk

cinematography

in this scene various angles and shot types are used but here spud is caught in a medium close up side angle

Representation in Casablanca

Women are represented in Casablanca through the character of Ilsa. Her character is often presented stereotypically as an accessory to Rick and Laszlo. She can also be seen as innocent and harmless, as was the viewpoint of women at the time. However, she briefly breaks stereotypes by threatening Rick with a gun.

The audience see both stereotypes and countertypes of men through the character of Rick. He is shown to be confident, self-centred and ‘masculine’. However, once Ilsa is introduced, he becomes more vulnerable and emotinal.

Authority Figures are represented as powerful, antagonistic and corrupt. This can be seen with the character of Captain Renault who is after Rick for having Ilsa and Victor’s transport papers. However, this changes at the end when he allows Ilsa and Laszlo to escape and then tells the police to “round up the usual suspects” as opposed to arresting Rick.

People of Colour can be seen through the character of Sam, who challenges stereotypes by being among many white people while performing, in a time where racial segregation was a serious problem.

Americans are represented as being neutral in relation to the Second World War. This is seen with Rick, who allows people from both sides of the war into his café. However, Rick later shows his true self, assisting Laszlo and Ilsa in escaping the Nazi-occupied Casablanca.

Europeans are represented as defenceless and weak against the Nazis, as seen with the man at the beginning of the film who attempts to flee when questioned, subsequently getting shot dead.

Casablanca sound

underscoring:

in the scene where Rick and Ilse see each other in the bra. A dramatic underscore is use to show the shock of the characters as they thought they would never see each other again.

Sound mixing:

sounds of people talking as well as drinking clicking together were added into the scenes set in Ricks bar using Foley. This immerses the viewer making the set feel more realistic as if it were a real bar.

Aesthetics in Casablanca

Realism

The elements of design in Casablanca, the setting is realistic during the time of 1942 and World War 1. The setting shows the emotion of the people in the film during this time, with the stress of getting off the island and to America where it was safe.

On the other hand, the well-lit, planned out feel of the movie interrupts its ‘realistic’ feel. The immaculate costume and good looking love interests are also used to weave this movie in with other films that follow Hollywood’s surrealistic ‘ideal’ look.

Visual Style

Casablanca’s style and emotional feel has its roots in the black and white, high-contrast style of the German Expressionist filmmakers. In Expressionism, the filmmaker tends to distort or bend reality for an emotional effect. This unique style might have been lost, had World War II not changed the course of events.

Tone

 The fluid camera movements and suspenseful content in Casablanca establishes the tone of the film and manipulates the audience’s mood through imagery, setting, and character emotion/action.  The tone of ‘Casablanca‘ is established in the initial scenes through suspenseful music, the heroine’s troubled expression, and the dramatic and precise mise-en-scene.

Casablanca aesthetics

Realism: A good example of Realism in Casablanca is the setting. Since it is set in 1942 during WW2. There is stress between character wondering if the island is safe and whether or not they should move to America where it is safe

Tone: The tone of the film is a serious drama with lots of high stakes and Serious moments. A good example is the climax scene where Rick tell IIla to get on the plane and leave him behind, the scene is very emotional.

Visual Style: The film is of the style of Film Noir which is a style of filmmaking that has cynical heroes, stark lighting effects, use of flashbacks, intricate plots and and underlying existentialist philosophy.

Aesthetics in Casablanca – George Blake

Intro –

Throughout Casablanca, Aesthetics can shown through the elements of Realism, Tone and Visual Style. Here I will show examples of each and what fits in with them.

Realism –

Realism is shown to mixed with elements of love and and the reality of war. In Casablanca, this is used to create that dramatic storyline of a love not meant to be due to the side-lined threat of the Nazis. With the focus being heavily on Rick and Ilsa’s love narrative, the terrors of the war are side-lined yet still depicted to current with, Parises ‘city of love’ being taken by the Nazis in real news footage. It can be said this was the creative intent as to free themselves from the reality of war movie-goers would attend films such as Casablanca to immerse themselves in an artificial reality.

Tone –

Tone in Casablanca, uses suspense to create that theme of drama. With the threat of being taken away by the Nazis if they showed the slightest involvement to the tickets to Lisbon, this creates the element of suspense as it is unknown if Rick, or any other of the protagonists will be found out.

Additionally with the narrative of Lazlo being a member of the resistance, this shows suspense as through the earlier scene of a resistance member being shot in broad daylight, the audience fears the same will happen to him.

Visual Style (Film Noir) –

Visual motifs in Casablanca can be seen with the reoccurrence of German uniforms. This obvious motif signifies that danger and threat is near as in comparison to reality it is generally known they are the enemy. Sound motifs can be heard when Ilsa is revealed to Rick, with a signifying sound, different to the previous piano song, this connotes that there is something significant about this person to Rick.