CHAPTER 12 Historical Changes in Film Art: Conventions and Choices, Tradition and Trends
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CHAPTER 12
Historical Changes in Film Art: Conventions and Choices, Tradition
and Trends
Chapter Outline
Traditions and Movements in Film History
Early Cinema (1893–1903)
Photography and Cinema
Edison vs. Lumière
Early Form and Style
Méliès, Magic, and Fictional Narrative
The Development of the Classical Hollywood Cinema (1908–1927)
Hollywood and the Studio System of Production
Classical Form and Style in Place
German Expressionism (1919–1926)
French Impressionism and Surrealism (1918–1930)
Impressionism
Surrealism
Soviet Montage (1924–1930)
Artists and the State
NEP Cinema
The Priority of Editing
The Movement Ends
The Classical Hollywood Cinema after the Coming of Sound (1926–1950)
Converting to Sound
Problems and Solutions
Studios, Genres, and Spectacle
Deep Focus and Narrative Innovations
Italian Neorealism (1942–1951)
Leaving the Studio
A New Model of Storytelling
The Movement’s End and Its Legacy
The French New Wave (1959–1964)
Critics Become Moviemakers
A New Wave Style
Neorealism Recast
Into the Mainstream and Beyond
The New Hollywood and Independent Filmmaking, 1970s–1980s
Blockbusters and Indie Pictures
The Rise of the Movie Brats
Other Paths
The 1980s and after
Hollywood and Independents, To Be Continued
Hong Kong Cinema: 1980s–1990s
CHAPTER 12 Historical Changes in Film Art: Conventions and Choices, Tradition and Trends
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A Local Tradition Goes Global
The New Generation: Two Schools
Story and Style
Legacy Overseas
Teaching “Historical Changes in Film Art: Conventions and Choices,
Tradition and Trends”
Another approach is to choose a set of films to be shown throughout the semester,
in relation to the previous eleven chapters, that are also mentioned in Chapter 12 as
historically important. Thus The Cabinet of Dr. Caligari could be shown the week that
Chapter 4, on mise-en–scene, is assigned. That week’s assignment could also include
the section from Chapter 12 on German Expressionism. Similarly, Breathless could be