new wave filmmaking

on.forbes.com
The Limit Does Not Exist by Forbes on Apple Podcasts

How does a fascination with fruit flies become a feature film? Alexis Gambis, a French-Venezuelan scientist turned filmmaker, tells us how. From studying the eye to the camera lens, editing genomes to editing film, Alexis is creating a new wave of science filmmaking and you’re invited to jump on board. Listen in for a trip around the world, a journey through time and a migration of butterflies. Yes, butterflies.

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In case you missed it, check out our new video essay on Godard’s game-changing ‘60s films.

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thefilmjunkies theme: Martin Scorsese

Director Martin Scorsese has produced some of the most memorable films in history, including the iconic Taxi Driver and Academy Award-winner The Departed. Part of the New Hollywood wave of filmmaking, he is widely regarded as one of the most significant and influential filmmakers in cinema history.

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Breaking The Rules- The French New Wave - Channel Criswell

The birth of the auteur filmmaker and a new era of cinema.

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In the 1960s, pioneering French New Wave filmmaker Jean-Luc Godard introduced the world to a new cinematic lexicon, generated from his innovative, auteurist style. Between 1960 and 1967 alone, he made fifteen features (beginning with his groundbreaking début, Breathless)—and it’s this period that regular Criterion Collection contributor :: kogonada explores in a new video essay highlighting the iconic director’s signature themes and devices. Watch the piece above, and if you’re in London, check out the British Film Institute’s comprehensive Godard retrospective running now through March 16.

You can view more of :: kogonada’s works for the Criterion Collection here and at kogonada.com.

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I admire Godard, but I love Truffaut. 

I think this statement of Godard encapsulates a lot of frustrations of a modern filmmaker too. Even Godard, one of the greatest innovators in form and craft of filmmaking got disheartened by all this obsession with technical aspects of filmmaking. I’d like to say “always put the story first”, but personally get frustrated with all the people saying that and then going to shoot sexy models, vain comedy sketches (comedy is an art, not a joke!) or just pictures whose sole intentions is first and foremost to sell. It’s comforting to know, that the fight of cinema to remain art and language of sincere is going on throughout ages and I think cinema is not giving up.

Truffaut looked uneasy as Godard yelled at one defender of the festival, “I’m talking to you about solidarity with the students and the workers, and you’re talking to me about tracking shots and closeups!” Soon afterward, as a scheduled screening began, protesters, including Godard and Truffaut, remained onstage and held on to the curtain to prevent it from opening. Viewers stormed the stage, and a brawl erupted. The next day, the festival was cancelled.

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What Isn’t There: On Philippine Cinema and the Global Arena
by Don Jaucian

The prevailing practice in Philippine Cinema, at least on the surface, is to hold up a locally made film up to the standards of the West. Local box office returns and movie-going behavior suggest that we’ve never really outgrown our Hollywood upbringing and the films that still capture our imaginations are the big, bombastic productions that the overlords of the West deem relevant for the world’s commercial cinema. High-flying films such as Iron Man 3 and Star Trek: Into Darkness dominated the local theaters for weeks, dismantling the notion of choice for people who wanted to spend their hard-earned money for an hour or two inside the cinema. Films have always been viewed mainly as an escapist tool; a means to disappear inside the folds of the world unveiling before our eyes and Hollywood has been particularly adept in mesmerizing audiences, one franchise after another. 

But thankfully, the emergence of Asian Cinema in the international arena has allowed Filipino producers and filmmakers to craft films from a different perspective, one that is certainly close to ours. For the past decade, moneymaking ventures in cinema tend to drive towards two kinds of genre filmmaking: the romantic comedy and the horror film. Some of these films, as pointed out by film critic Dodo Dayao, move towards the direction of Korean romantic comedies, and later, with Erik Matti’s On the Job, the hyperkinetic action films of Hong Kong. Star Cinema, the biggest film production company in the country, Viva Films, and Regal Films all put out the biggest chunk of today’s commercial releases.

At the margins, it’s the indies that make a viable case for the evolution of our local cinema. These are the films that actually go abroad in international film festivals and represent the state of filmmaking in the Philippines.

Independent filmmakers look to international film festivals not only for the prestige it brings but also for the chance to market their films for a more sophisticated audience and get more financial backing. The lack of film appreciation in the country has caged independent films into the festival circuit, with only a chosen few getting out once in a while for commercial release. Films like Marlon Rivera’s The Woman in the Septic Tank and Auraeus Solito’s acclaimed The Blossoming of Maximo Oliveros (the first Filipino film in the Sundance Film Festival) prove that there’s a market for for intelligent, independent films that rebel against the formula of the mainstream. Their international successes, particularly with Maxi, prove that there is more to local cinema than beaten-down tropes. Maxi coated its social-realist codes in the fluff of pink cinema, creating a world that is all too familiar and recognizably Filipino.

After Brillante Mendoza’s win as best director in the 2009 Cannes Film Festival (for Kinatay), and the steady output of the Philippine New Wave filmmakers (an informal movement of independent filmmakers such as Lav Diaz, Khavn, Raya Martin, and Adolf Alix Jr., all regular fixtures in the international festivals) have paved way for Philippine cinema’s strong show in world cinema. Filipino filmmakers are profiled in film books and magazines and more programmers are including local films in their watch list. Suddenly, after a period of stagnation, Philippine cinema is getting back on its feet.

But the option to bring films to film festivals abroad also say much about the preferences of local audiences. While the attendance of the independent showcase, Cinemalaya, has grown over the years, it is still poised to break through the commercially viable barrier. The Film Development Council of the Philippines (FDCP), the government’s arm in the promotion and preservation of local cinema, has also taken steps in bringing these films in different regions of the country since much of these festivals open only in Metro Manila). The cinematheques in Baguio, Iloilo, Davao, and Marawi, have become a venue to bring independent films and other classics to people who may not have the luxury to attend festivals in Manila. The FDCP has also launched their own film festival, Sineng Pambansa, last year, and its focus on regional cinema is another welcome development. Their efforts however still remains at a small scale and most of the films in Sineng Pambansa remain to be unseen outside the festival.

It’s films like Maxi that best represent what our cinema can offer to the world. A magazine editor once shared that in video stores abroad, Maxi is only one of the few Filipino films that make it to the shelves. But the recent critical success of Jun Lana’s Bwakaw, a story of an old gay man awaiting his death, and his relationship with the titular dog, and the triumphs of the four Filipino films in this year’s Cannes Film Festival, herald a brighter future for our cinema.

The Philippine contingent in this year’s Cannes runs a spectrum that outlines our cinematic evolution. First, Lino Brocka’s restored classic, Manila in the Claws of Light (also recently crowned by an online poll as the best Filipino film of all time), showcase the second Golden Age of Philippine Cinema. Then, there are the more artistic and in-depth byways into the Filipino psyche in Adolf Alix Jr’s Death March and Lav Diaz, one of the most important Filipino filmmakers, and his Dostoyevsky-esque Norte: The End of History. Diaz’s film wowed critics and audiences at the Croisette, and has been hailed a masterpiece. Such adjectives have always been associated with Diaz’s work whose epic running-times (his longest film runs for ten hours), plumb the deepest depths of our history and collective experiences.

Finally, there’s Erik Matti’s On the Job, a hit man film backed by an unlikely ally, Star Cinema. The studio let Matti take over the production, even allowing two of their biggest talents, Piolo Pascual and Gerald Anderson, take risks outside their established pretty-boy images. On the Job is both a gritty exploration of the darkest recesses of Philippine society, and a stylized action film that hopefully sets a bar in local filmmaking. It’s this careful marriage of style and substance that Matti hopes to bring to international and local audiences.

“[Our production outfit, Reality Entertainment] were gunning for local movies that have international appeal,” Matti told me in an interview before he showed OTJ inCannes. “I think that’s the way to go. The reason that we can’t bring our budgets higher than what we’re used to is because we’re only dependent on the local market. That’s why ang lakas pa rin ng mga Vice Ganda. But that can’t translate internationally, it’s geared towards a local market. Ito lang yung kaya ng budget.”

Alam ko talaga OTJ has a really strong international appeal kasi tayo lang naman yung walang buhay dito yung mga action saka crime drama pero internationally, everyone, The Girl with the Dragon Tatoo, City of God, The Prophet, Johnnie To movies, mga ganyan yan eh. So it really has an international appeal if you do it right,” he added.

It’s about time the new Philippine cinema take its form and assimilate into world culture, just like how Westernized notions have taken us hold for the last few decades. But these triumphs are also telling of the shortcomings of our local film industry; that we still have a long way to go before we can instill a deeper appreciation for a different cinematic flavor, one that doesn’t’ subscribe to the whims of lazy producers and tired audiences. The need to spotlight small but important films, films that have a significant cultural value, like Benito Bautista’s documentary, Harana, or Antoinette Jadaone’s mockumentary on local showbiz, Six Degrees of Separation from Lilia Cuntapay, should be taken out of their prized international film fest boxes into the welcoming arms of the Filipino audience. In the end, it’s all about cinema that speaks closest to your personal experiences; one that enriches your understanding of humanity and the world—be it grounded on the Filipino experience or otherwise.

Originally published as ‘What Isn’t There: Philippine Cinema vs the World’ in the July/August 2013 issue of Playboy Philippines

anonymous asked:

Okay I know you all will make fun of me for asking but I really don't understand, could you all help, since you're so good with films and stuff? What are the stages/eras of Hollywood so far and what are some notable actors/directors from each period? What's the period we're in now called - modern Hollywood?? Can all of the eras besides modern be grouped to one name like "old hollywood" or something?

  • 1900s-1929 - Silent Era (silent films) Some directors: king vidor, fw murnau, charles chaplin, buster keaton, josef von sternberg, fritz lang, erich von stroheim, dw griffith, victor sjostrom, etc.
  • 1929-1934 - Pre-Code Era (introduction to sound before the Hays Code was implemented) during this era many classic hollywood stars were born, and many directors too: ernst lubtisch, john cromwell, tod browning, raoul walsh, rouben mamoulian, william a. seiter, mervyn leroy, victor fleming, harry beaumont, roy del ruth, michael curtiz, busby berkeley, etc.
  • 1934-1966/7 - Classic/Classical Hollywood Era (transition to color, hays code implemented) Some directors, most of these directors influenced many american new wave and contemporary filmmakers: frank capra, nicholas ray, billy wilder, john huston, william wyler, joseph l mankiewicz, elia kazan, alfred hitchcock, michael curtiz, howard hawks, irving rapper, sydney kramer, george cukor, preston sturges, otto preminger, stanley donen, gegory la cava, douglas sirk, john ford, david lean, fred zinnemann, etc.
  • 1967-1980s - American New Wave/New Hollywood (hays code replaced by the mppa ratings, the american new wave died with blockbuster success.) Some directors: bob fosse, francis ford coppola, martin scorsese, dennis hopper, mike nichols, george lucas, terrence malick, roman polanski, sydney pollack, sidney lumet, brian de palma, clint eastwood, john cassavetes, peter bogdanovich, alan pakula, stanley kubrick, norman jewison, woody allen, etc.
  • 1980s- Present - Contemporary cinema Some directors who started working post-american new wave: paul thomas anderson, jim jarmusch, jane champion, christopher nolan, danny boyle david fincher, tim burton, quentin tarantino, wim wenders, etc.

No they can’t ALL be labeled as one because they are VERY different. You’ll see hollywood has changed a lot through history but now a days contemporary cinema is divided in categories, back in the 40s and 50s people were trying to make movies for all audiences, children, men, women, middle aged, elderly, married, unmarried, etc, they tried to get all the demographics in one movie, the death of that concept came with the end of the hays code, filmmakers made edgier films which weren’t all audience friendly, and that marked the appearance of the mppa rating system appeared. Now a days is called contemporary cinema from the 80s to 2010s, and films are categorized in genre and demographics, we have YA adaptations for teens, blockbusters, middle aged people films, etc. There’s a few family friendly films but it isn’t as popular to make family friendly films now a days. In the 90s the Independent Cinema industry started rising so the movies we see now a days don’t exactly FIT in a specific category because they don’t have a quality in common besides release date/year/decade. Movies from the silent era were all silent, pre-codes were edgy and sharp, classic films are movies made with the hays code implemented, the american new wave was fresh, fun, young, vibrant and people loved it. People just refer as movies made after the american new wave as contemporary hollywood or just refer to the decade.

This is hollywood only I am not including ANY foreign movement here.