Renoir

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1. Max Ophüls If Lubitsch saw the relationship between men and women as a playful battle of wits and whims, Max Ophüls was perhaps the supreme romanticist of the movies, both in his early work in Germany and his later work in the United States. Ophüls did not make a great many films, but his work is marked […]...
2. Das Neue Kino in Germany In the 1960s, the German cinema was still trying to rebound from the war. Two filmmakers of the period are of immense importance, partly because they paved the way for one of the key directors of Das Neue Kino (New Cinema) in Germany in the 1970s, Rainer Werner Fassbinder. But Jean-Marie Straub and Danièle Huillet’s […]...
3. French Cinema Before the New Wave Numerous other directors were active during this period in France. Jacqueline Audry worked as an assistant to directors Jean Delannoy, G. W. Pabst, and Max Ophüls before moving to the director’s chair with Gigi (1949), L’Ingénue libertine (Minne, 1950), and Mitsou (1956), all based on novels by the French writer Colette. Minne was heavily censored […]...
4. French occupation cinema In France during the war, with Paris under the Nazi occupation and the puppet Vichy government, only a few major filmmakers chose to stay behind and create a series of very subtly subversive films; otherwise, much of the Vichy cinema was sheer escapism. Marcel Carné’s Les Enfants du paradis (Children of Paradise, 1945), from a […]...
5. The Auteur Theory In the midst of all this technological tumult, a new group of American directors came of age, eager to embrace the shift to color and CinemaScope. They were also bolstered by the critical cheerleading of the French journal Cahiers du Cinéma, begun in 1947 by writer and theorist André Bazin (then La Revue du Cinéma, […]...
6. Agnès Varda Bresson was above all an individualist who created his own form of the cinema for himself rather than for audiences. He thus belonged not to the past, but to the present and future of cinema. The key New Wave figures – Jean-Luc Godard, François Truffaut, Eric Rohmer, Alain Resnais, and others-revered him and would use […]...
7. Film in Korea Korea came to the cinema relatively late, with its first silent film not being produced until 1923. In 1935, the sound film was introduced, but any further artistic development was cut short when Japan invaded China in 1937 and the Korean cinema was given over to outright propaganda. In 1945, with the surrender of Japan, […]...
8. Turkey cinema In Turkey, director Yilmaz Güney began his career as an actor and screenwriter until his political activism landed him in jail. Emerging from prison after eighteen months, he turned to acting full time and rapidly became a popular Bogart-like action hero in low-budget genre films. In 1966, he turned to directing, with his first important […]...
9. Frank Capra’s Small-Town America Frank Capra followed up the success of 1934’s It Happened One Night with a string of sentimental films about small-town American values, which the director himself dubbed “Capra corn.” Lost Horizon (1937), an atypical trip to exotica for the director, was a critical and financial disappointment, but in such films as You Can’t Take It […]...
10. Fritz Lang The most important UFA director was undoubtedly Fritz Lang, one of the key personages in cinema history. Whereas Jean Renoir was the supreme humanist of the cinema, Lang was the eternal pessimist, most comfortable with scenarios of doom and destruction that reflected his own bleak view of life. Beginning as a scenarist for director Joe […]...
11. Cocteau’s orphic trilogy Jean Cocteau is a very different case, a multitalented artist whose boldly Surrealist work in the theater, as well as his writings and drawings, defined the yearnings and aspirations of a generation. His groundbreaking sound feature film, Le Sang d’un poète (The Blood ofa Poet, 1930), was not shown publicly until 1932 because of controversy […]...
12. Wim Wenders Wim Wenders’s early films include the allegorical murder drama Die Angst des Tormanns beim Elfmeter (The Goalie’s Anxiety at the Penalty Kick, 1972) and the equally cerebral Alice in den Städten (Alice in the Cities, 1974), about an epic case of writer’s block. He later collaborated with Nicholas Ray on Lightning Over Water (1980) before […]...
13. О фильмах – About films Each year, remove a number of different films; they are of different genres and directions. But people aspire to look not only novelties, but also enjoy viewing of old films. At the history lessons the teacher told us that the first film have removed in 1895, it was interesting to learn that this film proceeded […]...
14. Sir Charlie Chaplin Sir Charlie Chaplin is one of the beloved comedians of the world. Years after his death, the comic films of movie actor and director Charlie Chaplin continue to be popular. He is one of the greatest comic actors who achieved greater, widespread fame in his own lifetime than perhaps anyone else in the history of […]...
15. Francis Ford Coppola (1939) Born in Detroit back in 1939, Coppola attended 22 schools in different parts of the USA because of his musician father’s travels. When he was eight, he contracted polio and spent almost a year in bed, his legs paralysed. “I was kept in a room by myself, and I used to read and occupy myself […]...
16. Martin Scorsese and Francis Ford Coppola Martin Scorsese first emerged as a major force in American cinema with Mean Streets (1973). He consolidated his reputation with Taxi Driver (1976), which made a star out of Robert De Niro as psychotic cabbie Travis Bickle, who slowly goes insane as he cruises the streets of nighttime Manhattan. Raging Bull (1980) also featured De […]...
17. René Clair in England and America The career of René Clair followed a similar trajectory. After his initial sound films in France attracted international acclaim, Clair was lured to England in 1935 to direct the comedy The Ghost Goes West for producer Alexander Korda’s London Films. The film tells the tale of an eighteenth-century Scottish laird who dies with his honor […]...
18. American Mavericks On a more commercial front, the boundaries were also being tested. Russ Meyer’s Vixen! (1968) pushed soft-core pornography to new extremes, while Roger Corman, who began the decade with a series of inventive horror films loosely based on the works of Edgar Allan Poe, such as The Pit and the Pendulum (1961), ended the decade […]...
19. Кино в моей жизни – Cinema in my life I am keen on movies, that is why I am interested in everything that is connected with it. First some words about history of cinematography. In 1895 the Lumieres brothers made their first three minute film which was demonstrated to the public. It was almost a century ago. Nowadays cinema is probably the most popular […]...
20. New cinema in France The French cinema kept expanding on both the commercial and personal horizons, as former New Wave directors pursued their own objectives. Meanwhile, a new wave of highly commercial filmmakers, who championed what became known as “cinema du look,” made more accessible, mainstream films, with a highly polished sheen of technical execution. One of the key […]...
21. Thomas Ince Another major figure during this formative era was Thomas Ince, who perhaps more than any other producer, except for Edison, put the motion picture industry on the map as a business. Ince got his start working for Carl Laemmle, perhaps the most industrious of the independent producers, one who would challenge Edison’s domination of the […]...
22. The Dardenne Brothers Jean-Pierre and Luc Dardenne began making short video documentaries together in the 1970s, and then shot their first fiction film in 1987, Falsch (False), in which the ghosts of a Jewish family, reunited after World War II in a deserted airport, are forced to deal with their past. The work is atypical for the Dardenne […]...
23. Alice Guy Although many film histories ignore her importance in cinema history, the Frenchwoman Alice Guy is one of the inventors of the narrative film. Few of her films survive today, however, due to the twin exigencies of neglect and cellulose nitrate decay (all films made before 1950 were photographed on nitrate film, which produced a superior […]...
24. Cinema Cinematography is one ofjhe wOTidersofthemodern workj Its possibilities are really unlimited, it gives pleasure to millions of people. Now it is a very popular kind of arfwhich has celebrated its 100th anniversary. There are cinemas in cities and towns. For most of people cinema is the means of entertainment and rest. You know thattife is […]...
25. Early German film In Germany, a similar period of experimentation was taking place, albeit under radically different circumstances. The prewar German cinema was composed for the most part of “actualities,” short films in the manner of the Lumière brothers and later short dramas with child protagonists, such as Carlchen und Carlo (1902); “mountain films,” a peculiarly German genre […]...
26. F. W. Murnau, Pabst, and the Silent German Movie Masters Before leaving Germany at this precipitous moment, we should consider some of the other filmmakers who made significant contributions to the cinema in the 1920s. F. W. Murnau directed the classic vampire tale Nosferatu in 1922, with a heavily made-up Max Schreck in the title role of a Drac-ula-like vampire; indeed, Murnau had simply lifted […]...
27. Thomas Edison Frames from the Lumière brothers’ L’Arrivée d’un train à La Ciotat (Arrival of a Train at La Ciotat, 1896). Of all the early film pioneers, it was Edison and his associates who most clearly saw the profit potential of the new medium. For the Lumière brothers, the cinema was but a curiosity; Louis had famously […]...
28. Silent filmmaking in England In England, the key film genres rapidly codified themselves into the colonial romance, parody films, melodramas, and domestic comedies. Following Cecil M. Hepworth’s success with Rescued by Rover (1905), the English film industry rapidly sought to emulate the American production-line method, with generally unsatisfactory results. Quantity was not the problem; originality, and even basic quality […]...
29. Lois Weber While Griffith labored on his epic films, other figures, both in the United States and abroad, were making their mark in the industry. Lois Weber, in particular, deserves attention. Born in 1881 in Allegheny, Pennsylvania, Weber was a child prodigy, touring as a concert pianist until the age of seventeen. Before she became an actress […]...
30. Michelangelo Antonioni and Luchino Visconti An internationally recognized director of the period, Michelangelo Anto-nioni made his first mark as a cineaste writing film criticism for Cinema, the official film journal of the Italian Fascist government. Antonioni also attended the Italian national film school, the Centro Sperimentale di Cine-matografia, and then worked as a co-screenwriter on Roberto Rossellini’s early film Una […]...
31. Problems with early sound Technological advances during this period were numerous. The first microphones for recording sound were clumsy and bulky and produced poor sound quality. Technicians insisted that the performers stand next to the microphones for optimal sound quality; this meant that both the camera and the actors stopped moving, resulting in static films that fans and critics […]...
32. Dorothyarzner In an industry that was deeply influenced by a group of women artists from the 1890s onward, only one woman survived the conglomeration of the industry in the late 1920s to direct during the sound era: Dorothy Arzner. Before Arzner, many women had been active as directors in early Hollywood, but nearly all had been […]...
33. Ingmar Bergman Sweden’s Ingmar Bergman continued his exploration of the depths of the human psyche in a stunning series of films that included Såsom i en spegel (Through a Glass Darkly, 1961), Nattvardsgästerna (Winter Light, 1962), and Tystnaden (The Silence, 1963), a trilogy that interrogates the meaning of human existence in a hostile and uncomprehending world. Bergman […]...
34. Silent movie masters Despite the fact that the studio system often stifled individual creativity, a number of gifted filmmakers managed to strike a balance between art and commerce and adapted to the studio system, making personal films that were also commercially successful. Allan Dwan, Rupert Julian, Henry King, and Fred Niblo all made expert genre films ranging from […]...
35. Glorious Technicolor In the early 1930s, sound cameras were bulky and cumbersome. In 1935, Hollywood produced its first three-strip Technicolor feature film, Mamoulian’s Becky Sharp. Three-strip Technicolor was a color additive process that exposed three separate strands of film in one gigantic camera, and then printed these three strands on top of one another to produce a […]...
36. Beyond Western Europe and the United States In Japan, the cinema was rapidly becoming more sexually graphic and violent, with the pinku eiga, or “pink” film, dominating the marketplace in the late 1960s. “Pink” films were near-pornographic conflations of sex and sadomasochistic violence, such as Kôji Wakamatsu’s Okasareta hakui (Violated Angels, 1967) and Yuke yuke nidome no shojo (Go, Go Second Time […]...
37. Silent filmmaking in Russia Following a period in which domestic filmmaking was noted for its commercial blandness, Russian cinema underwent an explosive series of developments due to the Bolshevik Revolution. Under the czar, escapist entertainment was the order of the day, with such films as Vasili Goncharov and Yakov Protazanov’s Smert Ioanna Groznogo (The Death of Ivan the Terrible, […]...
38. Кино в моей жизни – Movies in my life Movies play an important role in my life and of course I like to go to the cinema. As for me it is an available popular form of art, I find visiting cinemas is one of the best ways of spending my free time. And everyone can choose his favorite genre of film. There are […]...
39. Robert Flaherty At the same time, Robert J. Flaherty was busy creating a new form: the popular documentary. Flaherty’s Nanook of the North (1922) was the first straight documentary film that was also a commercial success, detailing the daily life and hardships of the Eskimo Nanook and his family, who lived, hunted, and built igloos in Hudson […]...
40. Werner Herzog Werner Herzog directed his first short film, Herakles, using a stolen camera in 1962, when he was a freshman at the University of Munich. His first feature film, Lebenszeichen (Signs of Life, 1968), deals with the loneliness and isolation of three German soldiers who must guard an old bunker on a remote Greek island, while […]...