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1 |
National Film Academies
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1.1 |
Soviet Union: All-Union State Institute of Cinematography
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1.2 |
Italy: cinecitta
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1.3 |
France
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2 |
International Film Festivals
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2.1 |
Venice (1932)
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2.2 |
Cannes (1946)
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2.3 |
Berlin (1951)
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2.4 |
San Francisco (1957)
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2.5 |
London (1957)
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2.6 |
Moscow (1959)
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2.7 |
New York (1963)
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2.8 |
Chicago (1965)
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2.9 |
Panama (1965)
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2.10 |
Brisbane (1966)
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2.11 |
Shiraz, Iran (1967)
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3 |
Awareness of the History of Film
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3.1 |
Cinémathèque Française, Paris
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3.2 |
National Film Theater, London
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3.3 |
Museum of Modern Art, New York
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4 |
Filmmaking Father Figures
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4.1 |
Jean Renoir in France
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4.2 |
Fritz Lang in Germany
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4.3 |
Alexander Dovzhenko in Soviet Union
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4.4 |
Alfred Hitchcock and Howard Hawks in Hollywood
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5 |
New Technologies
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5.1 |
smaller cameras
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5.2 |
reflex viewfinders
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5.3 |
faster film stock
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5.4 |
cheap, quick, more flexible
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6 |
New Wave Cinemas
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6.1 |
Italy
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6.2 |
Germany
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6.3 |
Soviet Union
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6.4 |
Eastern Europe
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Poland
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Czechoslovakia
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Yugoslavia
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Hungary
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6.5 |
Japan
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6.6 |
Great Britain's "Kitchen Sink"
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7 |
Film Aesthetics
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Direct Cinema influenced cinematography
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shooting from a distance
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using panning shots
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zoom lenses
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editing
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fragmentary discontinuous editing
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Breathless
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collage form
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plan sequence (sequence shot)
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narrative form
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chance events that could not be fitted into a linear cause-and-effect
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non-professional actors
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real locations
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improvised performance
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flashbacks
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mental imagery
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Directors
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objective realism
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subjective realism
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authorial commentary
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Reflexivity
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self-referential
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internal realities of the film
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pointed to its own materials, structures, and history
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the making of a film within a film
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8 1/2
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8 |
French film industry
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8.1 |
1958: domestic film attendance declined significantly
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big budget films failed
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8.2 |
Centre National du Cinema (1953)
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subsidy ("prime de la qualité")
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avance sur reciepts
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created new generation of filmmakers
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9 |
France's New Generation
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9.1 |
apolitical culture of consumption and leisure
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9.2 |
read film journals
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9.3 |
attended cine-club screenings
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9.4 |
Two filmmaking groups
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Nouvelle Vague
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Rive Gauche
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10 |
Cahiers du Cinema
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10.1 |
film critics
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Andre Bazin
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Claude Chabrol
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Éric Rohmer
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François Truffaut
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Jean-Luc Godard
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10.2 |
believed filmmakers should articulate a personal vision
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11 |
Nouvelle Vague of Filmmakers
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11.1 |
early films
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Le Beau Sarge (Claude Chabrol, 1958)
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Le Cousins (Claude Chabrol, 1959)
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400 Blows (François Truffaut, 1959)
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Breathless (Jean Luc Godard, 1959)
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11.2 |
Venice Film Festival (1960)
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gained international promimence
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12 |
financial constraints, creative solutions
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12.1 |
shot on location
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12.2 |
portable film equipment
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12.3 |
little-known actors
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12.4 |
small crews
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12.5 |
individual filmmaking styles
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personal vision was essential
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13 |
Resonance with Young Audiences
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13.1 |
filmmakers born around 1930
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13.2 |
concentrated in Paris
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chic fashions
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sports cars
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hip nightlife
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13.3 |
distrust of authority
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13.4 |
suspicious of commitment
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13.5 |
featured femme fatale character
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13.6 |
reference to prior film traditions
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film history was a living presence
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Breathless hero imitates Humphrey Bogart
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400 Blows stealing a production from a Bergman film
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14 |
Rive Gauche group
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14.1 |
older and less degree cinephiles
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14.2 |
cinema was like literature
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Alexandre Astruc: camera stylo
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14.3 |
experimental in formal style
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14.4 |
influenced by political left
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14.5 |
responsible for cinema verité movement
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15 |
Rive Gauche filmmakers
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15.1 |
Chris Marker
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15.2 |
Jacques Demi
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15.3 |
Alain Renais
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15.4 |
Agnès Varda
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16 |
Hiroshima Mon Amour
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16.1 |
Alain Renais
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16.2 |
juxtaposition of present with the past
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17 |
Cleo from 5 to 7
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Agnès Varda
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combines
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Left Bank formalism
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New Wave hipness
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