Towards Art Cinema American New Wave Cinema Butch Cassidy and the Sundance Kid 1969 a revisionist Western film by George Roy Hill about two outlaws and their friendship and camaraderie Moral ambiguity utterly lovable criminals and thieves ID: 790777
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Slide1
New Wave Cinema in the US
Towards Art Cinema
Slide2American New Wave Cinema
Butch Cassidy and the Sundance Kid
(1969) - a revisionist Western film by George Roy Hill about two outlaws and their friendship and camaraderie.
Moral ambiguity – utterly lovable criminals and thieves. Sexual liberation – unconventional love relationship
Slide3Wide screen
Noticeable low angle shots
Ignoring the 180° rule
Knife fight
Slide4The s
hots of a man and a woman on bicycle filmed with zoom lens. While the camera follows the moving people and bicycle, the focus must constantly be adjusted. They come in and go out of focus. (
mise
-en-scène)And rugged jump cuts (montage)
Slide5Compare this to François Truffaut’s
nouvelle vague
film,
Jules et Jim (1962)She is a vision for all
Slide6Pastel
colours
– greyish, sepia tone giving scenes nostalgic feel
Close-up in selective focusCard cheating
Slide7Camera positioning – low-level
Actions shot through objects – natural masking
Rapid cutting
Final shootout
Slide8American New Wave Cinema
Wild Bunch
(1969) - Sam
Peckinpah’s Western film about American outlaws trying to survive the modern world in the Texas-Mexican borders but die bloody deaths in Mexico.
Slide9Controversial in the representation of violence and the portrayal of cruel and violent men.
Technical expertise in multi-angle editing, rapid cutting and slow-motion photography
Final shootout
Slide10Four outlaws march through the village of Agua Verde to confront the villainous General
Mapache
. It was shot mainly with a rare telephoto lens giving the scene a distinctive look that made the four visually heroic. The foreground and the background compressed.
The walk
Slide113,600 cuts for 137 min. film
Shall we gather at the river?
Shots from multiple positions spliced together in rapid succession.Slow motion – Peckinpah shot action sequences using up to six cameras from the same position, running at different speeds.
Slide12M*A*S*
H
(1970) - a satirical comedy on war (the
Korean War) by Robert AltmanAnti-establishment humour, episodic narrative and editing, overlapping conversations and sudden zooms
New Hollywood Cinema
Slide13Episodic storytelling
to the limit –
no linear flow of narrative
Episodes are filmed mainly in extended takesThe Last Supper
Slide14Casual composition
Use of zoom
lens – little re-composition and long takes
Sudden zoom A shower with hot lips
Slide15New
Wave Directors
Arthur
Penn (1922 - ) Mike Nichols (1931 - )
Heavily influenced by German Jew, who moved to
Nouvelle vague,
the movies from the stage, the
maker of
The
maker of
The Graduate
of
Bonnie and Clyde
Slide16New
American Film Directors
John Schlesinger (1926 - ) Peter Bogdanovich
British filmmaker from (1939 - ), Serbian television,
Midnight Cow-
Jew,
nouvelle vague
boy
(1969)
Paper Moon
(1973)
Slide17New Hollywood and Independent Directors
Francis
Ford Coppola Martin Scorsese (1942 - )
(1939 - ) Italian American, Italian American, graduate
graduate of UCLA film of UNY film school,
Taxi
school,
The Conversation Driver
(1975)
(1975)
Slide18New Hollywood and Independent Directors
George Lucas (1944 - ) USC Steven Spielberg (1946 - )
film school graduate, film Attended CSU, Long Beach
buff,
American Graffiti
after failing to enter UCLA
(1973) three times,
The Sugarland
Express
(1974)
Slide19John Schlesinger,
Midnight Cowboy
(1969)
A buddy drama, in which a young Texan comes to NY and becomes to be a male prostitute and meets a Latino con man with a limp. They become soul mates and make a trip to Miami because the Latino is suffering from tuberculosis.
New American Films
Slide20Close-up and selective focus – expressive
mise
-en-scène
First encounter
Slide21Constant use of selective and rack focus
Real job
Slide22Constant flashback and flash forward
Lose home
Slide23Rapid and elliptic cutting
Bus trip
Slide24Peter
Bogdanovich’s
Paper Moon (1973) A road movie in which a con man agrees to deliver an orphan girl from Kansas to her aunt’s home in St. Joseph, Missouri. On their way, the pair earn money by the fraudulent sale of biblesShot deliberately in black-and-white
New American Films
Slide25Consistently shot in wide-angle lens – deep space and deep focus and the foreground distorted.
Bible salesman
Slide26Distorted, blown-up images by wide-angle lens
I’ve given you 20 dollars
Slide27New Hollywood Film Directors
Graduate of film school or college graduate
Film career as director with an independent film.
Recognition by HollywoodHigh budget, high concept filmArtistic and financial successFrancis Ford Coppola, Martin Scorsese, Steven Spielberg, George Lucas, Brian de Palma, Woody Allen, etc.
Slide28Francis Ford Coppola,
Finian’s
Raibow (1968)An Irish-American musical starring Fred Astaire and Petula Clark. An Irish immigrant and his daughter mover into a town in the American south with a magical piece of gold that will change people’s lives, incl. a struggling farmer and African American suffering from racial injustice.
Slide29Fantasy
More conventional
mise
-en-scène and montage141 minutes running timeSaturated Technicolor Panavision wide-screen format Departure
Slide30Martin Scorsese,
Mean Streets
(1973)
A drama about a young Italian- American in NY having a strong sense of responsibility towards his reckless, delinquent friend. Charlie and Johnny Boy
Slide31Shot on location in LA but the film set in NY
Johnny Boy shot in telephoto lens
Charlie shot in wide-angle lens (deep space) and telephoto lens (shallow space).
Garish, raw colours Charlie and Johnny Boy
Slide32Reality effects – to give an impression that the film mimics reality Messy killing of a thug by a
hitman
Shot in available red light – not low-key lighting but in available light
Slide33Charlie is intoxicated with alcohol and drug
He sits in a chair and is swung against red light.
Rubber biscuit
Slide34Harvey Keitel as Charlie and Robert de
Niro
as Johnny Boy, Metho
d actingRealist narrative and realist characterization
Slide35The End of New Wave Era
The success of
Star Wars
(1977) and Close Encounters of the Third Kind (1977) revived Hollywood blockbuster filmsThe success of
Superman
(1978) revived the Hollywood tradition of sequels and remakes
Slide36The End of New Wave Era
High concept cinema
With concentration on tie-in merchandise (toys)
With spin-offs into other media (books, magazines, television and later video)With the use of sequels
Cinema is commercialized again
Reflecting economy rather than personal visions of filmmakers
Slide37Styles in American New Wave Cinema
More freedom in filmmaking
Renovation of genresDIVERSE STYLES: more formalist and more experimentalSelf-conscious stylistsPersonal films