Wim Wenders

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1. 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 […]...
2. 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 […]...
3. 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 […]...
4. 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 […]...
5. Stephen Spielberg He is the cinema’s great enchanter. His films have enthralled the young and the old across the globe. Yet many in Hollywood dislike this man. They say he is a child who never grew up. They fear his influence and despite his box-office successes, they made him sweat for 25 years before giving him an […]...
6. 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 […]...
7. A short history of film Leni Riefenstahl Notable in the Nazi’s use of the cinema to further their own ends was the career of propagandist and documentarian Leni Riefenstahl. Born in Berlin in 1902, Riefenstahl rapidly emerged as the foremost filmmaker of the Reich. A genuine artist, she gave her considerable skills to the Nazi cause, most notably in her “documentary” of […]...
8. The old masters The 1960s also saw the final films of many of the classical Hollywood directors who had worked in the industry since its infancy. Alfred Hitchcock’s last films were among his best, including the European-influenced horror picture The Birds (1963), in which large groups of birds attack a small California town without explanation, and Marnie (1964), […]...
9. The new American documentary film The documentary film that set the pace for the new decade was Primary (1960), which covered the 1960 U. S. presidential race, made by four men who would become the key players of the new, handheld, sync-sound documentary tradition: Albert Maysles, Robert Drew, D. A. Pennebaker, and Richard Leacock. Working as Drew Associates, the four […]...
10. The move to sound But behind the scenes in the late 1920s, a revolution was brewing. Lee de Forest, the pioneer inventor who created the vacuum tube, the television picture tube, and the modern optical sound track system that was used in talking pictures for most of the twentieth century, was busily working in his small laboratory to bring […]...
11. Women in the director’s chair By the 1990s, women were directing films in every conceivable genre, a far cry from the 1950s when Ida Lupino was the only woman working in Hollywood. Amy Heckerling’s first movie, Fast Times at Ridgemont High (1982), a parody of high school comedy films, was a hit and introduced Sean Penn, Judge Reinhold, and Jennifer […]...
12. New German visions In the years since the New German Cinema first exploded, a number of talented directors have appeared on the scene, such as Tom Tykwer, whose Lola rennt (Run Lola Run, 1998) is a race-against-time thriller in which Lola (Franka Potente) must save her boyfriend from assassination by drug dealers. Deftly mixing animation, live action, digital […]...
13. 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 […]...
14. 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 […]...
15. 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 […]...
16. The Cinema In Britain In England the cinema is usually called “the pictures”. The American name “the movies” is sometimes used. The first performance or “showing” as it is called, begins about two o’clock in the afternoon and the show goes on from then until about half past ten. You can go in at any time and leave at […]...
17. African voices In Egypt, Youssef Chahine continued as one of the country’s most important directors, with al-Asfour (The Sparrow, 1972), Awdat al ibn al dal (The Return of the Prodigal Son, 1976), Hadduta misrija (An Egyptian Story, 1982), al-Massir (Destiny, 1997), and other works. One of the most mysterious and experimental films of the Egyptian cinema in […]...
18. 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 […]...
19. 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 […]...
20. Рождественская история – A Christmas Carol A Christmas Carol is a screen version of a famous classical novel written by Ch. Dickens. The film was shot in 3-D animation. The main idea of the film – you will not find your happiness if you are too rich and at the same time you are niggard – runs though every scene of […]...
21. 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 […]...
22. Iran’s revolutionary cinema The Iranian cinema went through a true renaissance as a result of the Islamic revolution in 1979 that brought Ayatollah Khomeini into power. Under the previous regime of Mohammed Reza Shah Pahlavi, which lasted from 1941 to 1979, films were mostly a commercial affair. With the revolution, however, filmmaking came to a halt until 1983, […]...
23. The Hollywood professionals Besides these major directors, a veritable army of skilled journeymen were trained to handle everyday directorial assignments. The studios supervised the careers of not only their actors, but also their directors, cinematogra-phers, and other key creative personnel, acting as a sort of finishing school for talent in support of the system. Directors often advanced to […]...
24. A short history of film India For the hypercommercial Indian film industries, the musical romance film still reigns supreme, yet alternative visions continue to challenge their dominance. Whereas the musicals were surefire box office propositions, more marginal Indian movies relied on private financing and government grants to defray production costs. We have already traced the career of director Ritwik Ghatak, one […]...
25. The Australian renaissance Australia, where some of the earliest feature films had been produced, had long fallen into a creative slump. But in the 1970s, a combination of favorable tax breaks and government incentives allowed a new generation of “down under” filmmakers to break through to international prominence. Bruce Beresford’s The Adventures of Barry McKenzie (1972) was an […]...
26. 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 […]...
27. 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, […]...
28. Edwin S. Porter While Alice Guy was blazing new cinematic advances in France and later in the United States, Edison was moving ahead with the development of the motion picture with the aid of Edwin S. Porter, whose films The Life of an American Fireman and particularly The Great Train Robbery revolutionized the cinema. The Life of an […]...
29. 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 […]...
30. 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 […]...
31. 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 […]...
32. Ответы на аглийском по теме: cinema 1. Do you like the cinema? Yes, I do. I am fond of cinema, because it’s one of the ways of entertainment. 2. Which films, feature or documentaries do you prefer? I like both. Feature films are made especially to entertain the public and documentaries are based on real facts and usually show the true […]...
33. 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 […]...
34. 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 […]...
35. 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, […]...
36. 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 […]...
37. Documentary films in England The English documentary provided a brief ray of hope. Under the General Post Office and producer/director John Grierson, such films as Basil Wright’s Song of Ceylon (1934) and Wright and Harry Watt’s Night Mail (1936) demonstrated a new spirit of adventurousness in documentaries, which could not only report but also interpret events. Night Mail, for […]...
38. 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 […]...
39. 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 […]...
40. 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, […]...