Modernist film

Last updated

Modernist film is related to the art and philosophy of modernism.

Contents

History

Early modernist film came to maturity in the era between WWI and WWII, with characteristics such as montage and symbolic imagery, manifesting itself in genres as diverse as expressionism and surrealism (as featured in the works of Fritz Lang and Luis Buñuel) [1] while postmodernist film – similar to postmodernism as a whole – is a reaction to modernist works, and to their tendencies (such as nostalgia and angst). [2] Modernist cinema has been said to have "explored and exposed the formal concerns of the medium by placing them at the forefront of consciousness." [3] The auteur theory and idea of an author creating a work from their singular vision became a central characteristic of modernist filmmaking. It has been said that "To investigate the transparency of the image is modernist but to undermine its reference to reality is to engage with the aesthetics of postmodernism." [4] [5] The modernist film has more faith in the author, the individual, and the accessibility of reality itself (and generally has a more sincere tone [6] ) than the postmodernist film.

List of notable modernist films

List of notable modernist filmmakers

Sources: [7] [8] [9] [10] [11] [12] [13] [14] [15] [16] [17] [18] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36] [37] [38] [39] [40] [41] [42] [43] [44] [45] [46] [47] [48] [49] [50] [51] [52] [53] [54] [55] [56] [57] [58] [59] [60] [61] [62] [63] [64] [65] [66] [67] [68] [69] [70] [71] [72] [73] [74] [75] [76] [77] [78] [79] [80] [81] [82] [83] [84] [85] [86] [87] [88] [89] [90] [91] [92] [93] [94] [95] [96] [97] [98] [99] [100] [101] [102] [103] [104] [105] [106] [107] [108] [109] [110] [111] [112] [113] [114] [115] [116] [117] [118] [119] [120]

See also

Related Research Articles

<span class="mw-page-title-main">Modernism</span> Cultural and artistic movement

Modernism was an early 20th century movement in literature, visual arts, and music that emphasized experimentation, abstraction, and subjective experience. Philosophy, politics, architecture, and social issues were all aspects of this movement. Modernism centered around beliefs in a "growing alienation" from prevailing "morality, optimism, and convention" and a desire to change how "human beings in a society interact and live together".

<span class="mw-page-title-main">Postmodernism</span> Artistic, cultural, and theoretical movement

Postmodernism is a term used to refer to a variety of artistic, cultural, and philosophical movements that claim to mark a break from modernism. They have in common the conviction that it is no longer possible to rely upon previous ways of depicting the world. Still, there is disagreement among experts about its more precise meaning even within narrow contexts.

Postmodern music is music in the art music tradition produced in the postmodern era. It also describes any music that follows aesthetical and philosophical trends of postmodernism. As an aesthetic movement it was formed partly in reaction to modernism but is not primarily defined as oppositional to modernist music. Postmodernists question the tight definitions and categories of academic disciplines, which they regard simply as the remnants of modernity.

<span class="mw-page-title-main">Michelangelo Antonioni</span> Italian film director and screenwriter (1912–2007)

Michelangelo Antonioni was an Italian director and filmmaker. He is best known for his "trilogy on modernity and its discontents"—L'Avventura (1960), La Notte (1961), and L'Eclisse (1962), the English-language film Blowup (1966) and the multilingual The Passenger (1975). His films have been described as "enigmatic and intricate mood pieces" that feature elusive plots, striking visual composition, and a preoccupation with modern landscapes. His work substantially influenced subsequent art cinema. Antonioni received numerous awards and nominations throughout his career, being the only director to have won the Palme d'Or, the Golden Lion, the Golden Bear and the Golden Leopard.

<span class="mw-page-title-main">Douglas Sirk</span> German film director (1897–1987)

Douglas Sirk was a German film director best known for his work in Hollywood melodramas of the 1950s. However, he also directed comedies, westerns, and war films. Sirk started his career in Germany as a stage and screen director, but he left for Hollywood in 1937 after his Jewish wife was persecuted by the Nazis.

<span class="mw-page-title-main">United Productions of America</span> American film production company (1941–2000)

United Productions of America, better known as UPA, was an American animation studio and later distribution company founded in 1941 as Industrial Film and Poster Service by former Walt Disney Productions employees. Beginning with industrial and World War II training films, UPA eventually produced theatrical shorts for Columbia Pictures such as the Mr. Magoo series. In 1956, UPA produced a television series for CBS, The Boing-Boing Show, hosted by Gerald McBoing Boing. In the 1960s, UPA produced syndicated Mr. Magoo and Dick Tracy television series and other series and specials, including Mister Magoo's Christmas Carol. UPA also produced two animated features, 1001 Arabian Nights and Gay Purr-ee, and distributed Japanese films from Toho Studios in the 1970s and 1980s.

<span class="mw-page-title-main">Postmodern art</span> Art movement

Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern.

Postmodernity is the economic or cultural state or condition of society which is said to exist after modernity. Some schools of thought hold that modernity ended in the late 20th century – in the 1980s or early 1990s – and that it was replaced by postmodernity, and still others would extend modernity to cover the developments denoted by postmodernity. The idea of the postmodern condition is sometimes characterized as a culture stripped of its capacity to function in any linear or autonomous state like regressive isolationism, as opposed to the progressive mind state of modernism.

Cinéma vérité is a style of documentary filmmaking developed by Edgar Morin and Jean Rouch, inspired by Dziga Vertov's theory about Kino-Pravda. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality. It is sometimes called observational cinema, if understood as pure direct cinema: mainly without a narrator's voice-over. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what Bill Nichols, an American historian and theoretician of documentary film, calls the "observational mode", a fly on the wall. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.

Postmodern literature is a form of literature that is characterized by the use of metafiction, unreliable narration, self-reflexivity, intertextuality, and which often thematizes both historical and political issues. This style of experimental literature emerged strongly in the United States in the 1960s through the writings of authors such as Kurt Vonnegut, Thomas Pynchon, William Gaddis, Philip K. Dick, Kathy Acker, and John Barth. Postmodernists often challenge authorities, which has been seen as a symptom of the fact that this style of literature first emerged in the context of political tendencies in the 1960s. This inspiration is, among other things, seen through how postmodern literature is highly self-reflexive about the political issues it speaks to.

<span class="mw-page-title-main">John Hubley</span> American film director, producer, and screenwriter (1914–1977)

John Kirkham Hubley was an American animated film director, art director, producer, and writer known for his work with the United Productions of America (UPA) and his own independent studio, Storyboard, Inc.. A pioneer and innovator in the American animation industry, Hubley pushed for more visually and emotionally complex films than those being produced by contemporaries like the Walt Disney Company and Warner Brothers Animation. He and his second wife, Faith Hubley, who he worked alongside from 1953 onward, were nominated for seven Academy Awards, winning three.

Postmodernist film is a classification for works that articulate the themes and ideas of postmodernism through the medium of cinema. Some of the goals of postmodernist film are to subvert the mainstream conventions of narrative structure and characterization, and to test the audience's suspension of disbelief. Typically, such films also break down the cultural divide between high and low art and often upend typical portrayals of gender, race, class, genre, and time with the goal of creating something that does not abide by traditional narrative expression.

Indiewood films are made outside of the Hollywood studio system or traditional arthouse/independent filmmaking system yet managed to be produced, financed and distributed by the two with varying degrees of success and/or failure.

In the visual arts, late modernism encompasses the overall production of most recent art made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and postmodernism, although there are differences. The predominant term for art produced since the 1950s is contemporary art. Not all art labelled as contemporary art is modernist or post-modern, and the broader term encompasses both artists who continue to work in modern and late modernist traditions, as well as artists who reject modernism for post-modernism or other reasons. Arthur Danto argues explicitly in After the End of Art that contemporaneity was the broader term, and that postmodern objects represent a subsector of the contemporary movement which replaced modernity and modernism, while other notable critics: Hilton Kramer, Robert C. Morgan, Kirk Varnedoe, Jean-François Lyotard and others have argued that postmodern objects are at best relative to modernist works.

Vulgar auteurism is a movement that emerged in early 2010s cinephilia and film criticism associated with championing or reappraising filmmakers, mostly those working in the horror, sci-fi and action genres and whose work has otherwise received little attention or negative reception in the critical mainstream. It became a controversial topic in the cinephile community following the publication of an article in the Village Voice in 2013 and has been described as "a critical movement committed to assessing the 'unserious' artistry of popcorn cinema with absolute seriousness."

Maximalist film or maximalist cinema is related to the art and philosophy of maximalism.

Minimalist cinema is related to the art and philosophy of minimalism.

Arthouse animation is a combination of art film and animated film.

<span class="mw-page-title-main">Postmodernism in China</span>

Postmodernism emerged in China during the late 20th century as the country underwent rapid economic development and globalization. While influenced by Western postmodern currents, Chinese postmodernism developed distinctively as it interacted with China's unique historical and cultural context. It challenged traditional Chinese aesthetics and philosophies, reinterpreting them through an eclectic postmodern lens. This ushered in experimental forms of expression across literature, art, architecture, intellectualism, and cinema. Chinese artists interwove traditional motifs with postmodern pastiche, irony, and critical engagement with contemporary issues. Postmodernism in China thus represents a fusion of global trends and local heritage. It provides a lens to understand modern China as artists and intellectuals navigate expressing individuality within the nation's socio-political landscape.

References

  1. ↑ Characteristics of a Modernist Film|Our Pastimes
  2. ↑ Beyond the subtitle: remapping European art cinema: Betz, Mark - Internet Archive (pg.34)
  3. ↑ Beginning Postmodernism, Manchester University Press: 1999 by Tim Woods
  4. ↑ Dragan Milovanovic (15 March 2009). "Dueling Paradigms: Modernist v. Postmodern Thought". American Society of Criminology.
  5. ↑ "Reading the Postmodern Image: A Cognitive Mapping," Screen: 31, 4 (Winter 1990) by Tony Wilson
  6. ↑ The Case for Douglas Sirk as the First Postmodern Filmmaker|Collider
  7. ↑ Perry, Ted (2006). Masterpieces of Modernist Cinema. Indiana University Press. ISBN   0253347718.
  8. ↑ Modernism and Film - Cinema and Media Studies - Oxford Bibliographies
  9. ↑ Murphy, Richard (2007). "Modernism and the Cinema: Metropolis and the Expressionist Aesthetic". Comparative Critical Studies. 4 (1): 105–120. doi:10.3366/ccs.2007.4.1.105. S2CID   145016904.
  10. ↑ Vertigo - Cinema and Media Studies - Oxford Bibliographies
  11. ↑ "Modernism and Citizen Kane" by George R. Robinson - BMCC
  12. ↑ The Big Sleep: Cinema and Modernism > National Museum of Modern and Contemporary Art, Korea
  13. ↑ German Cinema, 1920-1930 — Modernism Lab
  14. ↑ Kovács, András Bálint (2006). "Sartre, the Philosophy of Nothingness, and the Modern Melodrama". The Journal of Aesthetics and Art Criticism. 64 (1): 135–145. doi:10.1111/j.0021-8529.2006.00235.x. JSTOR   3700498.
  15. ↑ Film Noir and the Spaces of Modernity —— Edward Dimendberg|Harvard University Press
  16. ↑ Cinema and modernism - The British Library
  17. ↑ The forgotten glamour and modernism of 1930s Italian cinema sets – Museum Crush
  18. ↑ Modernism, Montage, and Social Commentary in Early City Films — Indiana University Cinema
  19. ↑ Hollywood Modernism: Film and Politics in the Age of the New Deal
  20. ↑ How Chantal Akerman's modernist masterpiece changed cinema - BBC Culture
  21. ↑ Screening Modernism —— Cineaste Magazine
  22. ↑ Anthology Film Archives : Film Screenings
  23. ↑ American Stranger: Modernisms, Hollywood, and the Cinema of Nicholas Ray (Suny Series) (Paperback)|University Press Books/Berkeley
  24. ↑ Sirk/Fassbinder: Melodrama Mutations|White City Cinema
  25. ↑ Evans, Victoria L. (2017). Douglas Sirk, Aesthetic Modernism and the Culture of Modernity. ISBN   9781474409391. JSTOR   10.3366/j.ctt1pwt8s4.
  26. ↑ Battleship Potemkin makes us strong|World cinema|The Guardian
  27. ↑ American Stranger - Google Books
  28. ↑ Key avant-garde films from the roaring '20s :: September 2011 :: Cassone
  29. ↑ The sad and the beautiful : Val Lewton and Vincette Minnelli at the Stanford Theatre|The Stanford Daily
  30. ↑ Masterpieces of Modernist Cinema - Indiana University Press
  31. ↑ THE WORK OF IDA LUPINO EARNS SOME OVERDUE PRAISE - Chicago Tribune
  32. ↑ Table of Contents: Masterpieces of modernist cinema/ - Villanova University
  33. ↑ Modernity: A Film by Alfred Hitchcock — Senses of Cinema
  34. ↑ Established Modernism, 1962-1966 - Chicago Scholarship
  35. ↑ “ ‘Saved from the Blessings of Civilization’: Stagecoach, the West, and American Vernacular Modernism” - Michael Valdez Moses, Duke University
  36. ↑ Yasujiro Ozu: 10 essential films|BFI
  37. ↑ The Rashomon Effect|The Current|The Criterion Collection
  38. ↑ A Quickie Look at the Life & Career of Tex Avery - Bright Lights Film Journal
  39. ↑ Tex Avery: Arch-Radicalizer of the Hollywood Cartoon - Bright Lights Journal
  40. ↑ That's All, Folks - The Washington Post
  41. ↑ The 100 Most Influential Sequences in Animation History - Vulture
  42. ↑ The Cartoon Renegades - The New York Times
  43. ↑ Alternative Visions: Animation|BAMPFA
  44. ↑ Independent Spirits: Faith Hubley/John Hubley (2003) - Turner Classic Movies
  45. ↑ Wolfgram Evans, Noell K. (26 April 2011). Animators of Film and Television: Nineteen Artists, Writers, Producers and Others. McFarland. ISBN   9780786448326.
  46. ↑ Amit Chaudhuri on Satyajit Ray's very Indian modernity: Not a 'beginning' as much as a 'fruition' - Scroll.in
  47. ↑ Cinema, Emergence, and the Films of Satyajit Ray - Google Books (pg.195)
  48. ↑ The Riddle of the Chicken: The Work of Norman McLaren — Senses of Cinema
  49. ↑ The world of Len Lye|Govett-Brewster Art Gallery|Len Lye Centre
  50. ↑ "Pretty Good for the 21st Century||Keep It Moving?
  51. ↑ Film and Literary Modernism - Google Books
  52. ↑ The Statues Still Stood: The Third Man and Third Spaces|Modernism / Modernity Print+
  53. ↑ The Development of a Modernist Narrative in Selected Film of Joseph Losey - CORE
  54. ↑ Black & White & Noir: America's Pulp Modernism on JSTOR
  55. ↑ Ten Great Movies for Placemakers —— Project for Public Spaces
  56. ↑ Black & White & Noir: American Pulp Modernism - Google Books (pgs.11-12)
  57. ↑ Hilliker, Lee (2002). "In the Modernist Mirror: Jacques Tati and the Parisian Landscape". The French Review. 76 (2): 318–329. JSTOR   3132711.
  58. ↑ The Case for Douglas Sirk as the First Postmodern Filmmaker|Collider
  59. ↑ Carney, Raymond (28 January 1994). The Films of John Cassavetes: Pragmatism, Modernism, and the Movies. Cambridge University Press. ISBN   9780521388153.
  60. ↑ The Daring, Original, and Overlooked "Symbiopyschotaxiplasm: Take One"|The New Yorker
  61. ↑ Blake Edwards's 'The Great Race' and 'The Party' - The New York Times
  62. ↑ The Bitter Essence of Blake Edwards|Screening the Past
  63. ↑ Filmmuseum - Program SD
  64. ↑ Hard Clarity, Vaporous Ambiguity: The Fusion of Realism and Modernism in Antonioni's early 1960s Films - Senses of Cinema
  65. ↑ Modernist Master: Michelangelo Antonioni | BAMPFA
  66. ↑ Mr. Klein (1976)|The Criterion Collection
  67. ↑ Mr. Klein | BAMPFA
  68. ↑ Pierrot Le Fou’s Discourse on the Infection of Americanism in Europe and the Absurdity of Modern Society|Culled Culture
  69. ↑ "All right: where am I?" "Looney Tunes" Animation as Modernist Performance on JSTOR
  70. ↑ John Cassavetes: The First Dogma Director? - Bright Lights Film Journal
  71. ↑ McElhaney, Joe (February 2012). The Death of Classical Cinema: Hitchcock, Lang, Minnelli. State University of New York Press. ISBN   9780791481110.
  72. ↑ A Modernist Cinema - Google Books
  73. ↑ Was postmodernism born with Close Encounters of the Third Kind?|Culture|The Guardian
  74. ↑ Kubrick's Total Cinema: Philosophical Themes and Formal Qualities - Google Books
  75. ↑ Time Machines: After Kubrick: A Filmmaker's Legacy, edited by Jeremi Szaniawski · Senses of Cinema
  76. ↑ Hutcheon, Linda (1990). "An epilogue: Postmodern parody: History, subjectivity, and ideology". Quarterly Review of Film and Video. 12 (1–2): 125–133. doi:10.1080/10509209009361343.
  77. ↑ Hiroshima mon amour's Unforgettable Opening|Current|The Criterion Collection
  78. ↑ Horror versus Terror in the Body Genre | CINEACTION
  79. ↑ Emile de Antonio - Wisconsin Center for Film and Theater Research
  80. ↑ Lessons of Documentary: Reality, Representation, and Cinematic Expressivity - American Society For Aesthetics
  81. ↑ MUBI Special Being Green: Jim Henson's Early Shorts
  82. ↑ Designers in Context: Film, Advertising, and Modernism - The Visualist
  83. ↑ Agnès Varda Was a Living Work of Art - The Hollywood Reporter
  84. ↑ Eclipse Series 19: Chantal Akerman in the Seventies|The Criterion Collection
  85. ↑ Here Is Your Life (1966)|The Criterion Collection
  86. ↑ Voyage into the unknown | Movies - The Guardian
  87. ↑ A Matter of Life and Death (1946)|The Criterion Collection
  88. ↑ Hippie Modernism: Cinema and Counterculture, 1964-1974 - BAMPFA
  89. ↑ Theater 2 Hippie Modernism Shorts - BAMPFA
  90. ↑ Hippie Modernism: The Struggle for Utopia At The Berkeley Art Museum | East Bay Express
  91. ↑ Elegy to Ecstasy: Films from Canyon Cinema - BAMPFA
  92. ↑ Festival Express|BAMPFA
  93. ↑ Vulgar Modernism - Artfourm International
  94. ↑ Vulgar Modernism - Routledge Encyclopedia of Modernism
  95. ↑ Simpson, Philip; Utterson, Andrew; Shepherdson, Karen J. (2004). Film Theory: Critical Concepts in Media and Cultural Studies. Taylor & Francis. p. 171. ISBN   9780415259750.
  96. ↑ Five films that influenced Jean-Luc Godard|Far Out Magazine
  97. ↑ Jiří Trnka Shorts: Mature Mastery | American Cinematheque
  98. ↑ The Czech Year - Harvard Film Archive
  99. ↑ Bashara, Dan (2 April 2019). Cartoon Vision: UPA Animation and Postwar Aesthetics. Univ of California Press. ISBN   9780520298132.
  100. ↑ Global Animation Theory - International Perspectives at Animafest Zagreb - Bloomsbury Collections
  101. ↑ Sollors, Werner (2008). Ethnic modernism (First Harvard University Press paperback ed.). Cambridge, Mass. p. 8. ISBN   9780674030916.{{cite book}}: CS1 maint: location missing publisher (link)
  102. ↑ Murray, Robin L. (2011). That's all folks? : ecocritical readings of American animated features. Lincoln: University of Nebraska Press. pp. 85–89. ISBN   9780803235120.
  103. ↑ Why Do Movies Feel So Different Now? - Thomas Flight on YouTube
  104. ↑ Six facts about Jean-Luc Goddard – the godfather of modernist cinema|Evening Standard
  105. ↑ What Made Buster Keaton’s Comedy So Modern?|The New Yorker
  106. ↑ 'And Walt Went Crazy' - Animation Obsessive
  107. ↑ Bubble Bath review – hallucinogenic animated musical is a work of 70s genius|Movies|The Guardian
  108. ↑ Habfürdő in the 2020-2021 Season of Classic Films Catalogue|Gyorgy Kovasznai
  109. ↑ The Servant (1963)|The Criterion Collection
  110. ↑ La notte (1961)|The Criterion Collection
  111. ↑ Hippie Medium - Artfourm
  112. ↑ United Productions of America and Cartoon Modernism · Bosustow Family Film Collection · Indiana University Libraries Movie Image Archive
  113. ↑ 12 Totally Strange and Underseen Animated Films|PopMatters
  114. ↑ Modernist Cinema|Meer
  115. ↑ What Makes Citizen Kane the Greatest Film of All Time?|TheCollector
  116. ↑ How THE BIG SLEEP Made Detectives Postmodern - Film Requiry
  117. ↑ Theories of Modernism in Cinema|Voices|Sylff Official Website
  118. ↑ Godard Was Cinema|The Nation
  119. ↑ Post-War Modernist Cinema and Philosophy - Google Books
  120. ↑ Early Anime Features: Two 1960s Classics|Cartoon Research
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.