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In one film the death of a parent is accompanied by the sudden flight of birds. Students can learn much about the power of editing by careful attention to Ray's style. An excellent resource for studying many of these films, and gaining insights on the influences of international cinema on American films, is the book Foreign Affairs: The National Society of Film Critics' Video Guide to Foreign Films, edited by Kathy Schulz Huffhines, San Francisco: Mercury House, 1991 (paperback). The text refers to three waves of films. The French New Wave is treated as a second wave (precursors to that movement are treated in the First Wave section). In the section The Next Wave, films from Africa, Australia, New Zealand, and China are noted. Several sections devoted to recommended films from a variety of countries follows. The book should be required reading for all cinemaphiles.Audioworks Producers Group Co This confrontation is punctuated by the use of the baby carriage plummeting down a long series of steps while the good guys and the bag guys remain in a standoff. A more effective homage to Eisenstein can be seen in Francis Ford Coppola's Apocalypse, Now (1976), when at the end of the film a cow is slaughtered ritualistically by the native people deep in the Vietnamese jungle. Shots of the slaughter are intercut with shots of the Martin Sheen character wielding a machete against the hulking Marlon Brando character, the crazed former American officer who has retreated to the jungle from the horrors of war and has become a sort of deity to the native people in his compound. Coppola was aware of a famous scene in Eistenstein's Strike (1925), when two dramatic scenes are intercut: one of Czarist troops massacre peasants, another of a cow being butchered. Although the technology for making movies was invented in 1895, a significant realization of the potential for film as art occurs with the appareance of D. W. Griffith's 1915 full-length epic, Birth of a Nation.
Boys Don't Cry. USA. Dir. Kimberly Peirce. This film is timely, tense, even unnerving. A film like this reminds me of the films from the 1970s, films that packed a visceral punch. This film will leave you thinking about it for hours afterwards, for days afterwards. I use The Crying Game in my introductory film course, and I saw Boys Don't Cry the weekend before I began showing the former film. The same week I saw Bringing Out the Dead I was using Scorsese's Taxi Driver in class. It's been that kind of semester--an emotional roller-coaster--and these films get at what is important to young people today: alienation, identity, love, intimacy, sexuality, relationships, self-expression, finding oneself. The film is true to the character of Teena Brandon (or first name Brandon when she becomes a man). But if I'm comfortable referring to The Crying Game's Dil as she, then I'm equally comfortable referring to Brandon as he.
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Bergman's autobiography, The Magic Lantern, is well worth reading. He continued to direct films into the 1970s, and in late life has turned to writing screenplays based upon autobiographical materials. The first one, Best Intentions, was made into an excellent film by Bille August, a Danish director, in 1992. The film tells the story of how Bergman's parents met and married, and it ends just before Ingmar was born. The second film tells the story of Ingmar's childhood relationship with his older brother. This screenplay was also filmed. Two other directors deserve special recognition. One of first international films I viewed was Akira Kurosawa's Rashomon (1951). I probably saw it for the first time in 1977. I was astonished with Kurosawa's vision. His story of a rape and murder of a woman is told from the point of view of four different characters (one of whom is the woman's ghost). I was familiar with this approach in literature (Faulkner's The Sound and the Fury is an obvious analogue); but in film the experience provided an innovative approach.For instance, Humphrey Bogart starred in 36 films between 1934 and 1942. Casablanca was one of four pictures he completed in 1943. A major source of revenue for the studios was their ownership of large theater chains. But in 1949 the studios were forced to divest themselves of these theater empires because of their monopolistic practices. The advent of television in the 1950s, the rise of the director as auteur, and the ability of actors to become "free agents" led to the demise of the old Studio System.
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