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Free Cinema
Free Cinema was a documentary film movement that emerged in the United Kingdom in the mid-1950s. The term referred to an absence of propagandised intent or deliberate box office appeal. Co-founded by Lindsay Anderson (but he later disdained the 'movement' tag) with Karel Reisz, Tony Richardson and Lorenza Mazzetti, the movement began with a programme of three short films at the National Film Theatre, London on 5 February 1956. The programme was such a success that five more programmes appeared under the ‘Free Cinema’ banner before the founders decided to end the series. The last event was held in March 1959. Three of the screenings consisted of work from overseas filmmakers. Background Together with Gavin Lambert, Anderson and Reisz had previously founded the short-lived but influential journal ''Sequence'', of which Anderson later wrote 'No Film Can Be Too Personal'. So ran the initial pronouncement in the first Free Cinema manifesto. It could equally well have been the motto ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Documentary Film
A documentary film or documentary is a non-fictional film, motion-picture intended to "document reality, primarily for the purposes of instruction, education or maintaining a Recorded history, historical record". Bill Nichols (film critic), Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries". Early documentary films, originally called "actuality films", lasted one minute or less. Over time, documentaries have evolved to become longer in length, and to include more categories. Some examples are Educational film, educational, observational and docufiction. Documentaries are very Informational listening, informative, and are often used within schools as a resource to teach various principles. Documentary filmmakers have a responsibility to be truthful to their vision of the world without intentionally misrepresenting a topic. Social media platfor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Together (1956 Film)
''Together'' is a 1956 film about two deaf people in the East End of London, directed by Lorenza Mazzetti, in collaboration with Denis Horne, based on his short story, "The Glass Marble." The two main characters are played by artists Eduardo Paolozzi and Michael Andrews, who were friends of the filmmaker. The film, produced by the British Film Institute Experimental Film Fund, was first shown as part of the first Free Cinema programme at the National Film Theatre in London in February 1956, along with Tony Richardson and Karel Reisz's ''Momma Don't Allow'', and Lindsay Anderson's ''O Dreamland''. See also * List of avant-garde films of the 1950s This is a list of avant-garde and experimental films released in the 1950s. Unless noted, all films had sound and were in black and white. References {{Filmsbygenre Avant-garde The avant-garde (; In 'advance guard' or ' vanguard', l ... References External links * * 1956 films 1956 drama films British drama film ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neighbours (1952 Film)
''Neighbours'' (French title: ''Voisins'') is a 1952 anti-war film by Scottish Canadian filmmaker Norman McLaren. Produced at the National Film Board of Canada in Montreal, the film uses pixilation, an animation technique using live actors as stop motion objects. McLaren created the soundtrack of the film by scratching the edge of the film, creating various blobs, lines, and triangles which the projector read as sound. Plot Two men, Jean-Paul Ladouceur and Grant Munro (representing French Canada and English Canada respectively), live peacefully in adjacent cardboard houses. When a single, small flower (possibly a psychoactive flower) blooms between their houses, they fight each other to the death over ownership of that flower. The moral of the film is, simply, ''Love your neighbour''. The moral is also shown in other languages, including (in order of appearance): *Japanese: 同胞に親切なれ (''Dōhō ni shinsetsu nare'') *Chinese: 親善鄰居 (''Qīnshàn línjū'') *Hindi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Norman McLaren
William Norman McLaren, LL. D. (11 April 1914 – 27 January 1987) was a Scottish Canadian animator, director and producer known for his work for the National Film Board of Canada (NFB).Rosenthal, Alan. ''The new documentary in action: a casebook in film making''. University of California Press, 1972. 267-8. Print. He was a pioneer in a number of areas of animation and filmmaking, including hand-drawn animation, drawn-on-film animation, visual music, abstract film, pixilation and graphical sound. McLaren was also an artist and printmaker, and explored his interest in dance in his films. His awards included an Academy Award for Best Documentary Short Subject in 1952 for ''Neighbours'', a Silver Bear for best short documentary at the 1956 Berlin International Film Festival for '' Rythmetic'' and a 1969 BAFTA Award for Best Animated Film for ''Pas de deux''. Early life Norman McLaren was born in Stirling, Scotland, on 11 April 1914. He had two older siblings, one brother, Jack ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
On The Bowery
''On the Bowery'' is a 1956 American docufiction film directed by Lionel Rogosin. The film, Rogosin's first feature was nominated for an Academy Award for Best Documentary Feature Film. After the Second World War, Lionel Rogosin made a vow to fight fascism and racism wherever he found it. In 1954, he left the family business, the Beaunit Mills-American Rayon Corporation, in order to make films in accordance with his ideals. As he needed experience, he looked around for a subject and was struck by the plight of the men on the Bowery, and he determined that a portrayal of their daily lives on the streets and in the bars of the New York City neighborhood would make a strong film. Thus, ''On the Bowery'' served as Rogosin's practice film for the subsequent filming of his anti-apartheid film ''Come Back, Africa'' (1960). In 2008, ''On the Bowery'' was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lionel Rogosin
Lionel Rogosin (January 22, 1924, New York City, New York – December 8, 2000, Los Angeles, California) was an independent American filmmaker. Rogosin worked in political cinema, non-fiction partisan filmmaking and docufiction, influenced by Italian neorealism and Robert Flaherty. Biography Early life Born and raised on the East Coast of the United States, he was the only son of textile industry mogul and philanthropist Israel Rogosin. Lionel Rogosin attended Yale University and obtained a degree in chemical engineering in order to join his father's business. He served in the United States Navy during World War II. Upon his return, he spent his free time traveling in war-ridden Eastern Europe and Western Europe and Israel as well as a trip to Africa in 1948. He then worked in his father's company until 1954, while teaching himself film with a 16mm Bolex camera. Concerned with political issues including racism and fascism, Rogosin participated in a United Nations film titled '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
French New Wave
French New Wave (french: La Nouvelle Vague) is a French art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm. New Wave filmmakers explored new approaches to editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era, often making use of irony or exploring existential themes. The New Wave is often considered one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine '' Cahiers du cinéma'' in the late 1950s and 1960s. These critics rejected the ''Tradition de qualité'' ("Tradition of Quality") of mainstream French cinema, which emphasized craft over innovation and old works over experimentation. This was apparent in a manifesto-like 1954 essay by François Truffaut, ''Une certaine tenda ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polish Cinema
The history of cinema in Poland is almost as long as the history of cinematography, and it has universally recognized achievements, even though Polish films tend to be less commercially available than films from several other European nations. After World War II, the communist government built an auteur-based national cinema, trained hundreds of new directors and empowered them to make films. Filmmakers like Roman Polański, Krzysztof Kieślowski, Agnieszka Holland, Andrzej Wajda, Andrzej Żuławski, Andrzej Munk, and Jerzy Skolimowski impacted the development of Polish film-making. In more recent years, the industry has been producer-led with finance being the key to a film being made, and with many independent filmmakers of all genres, Polish productions tend to be more inspired by American film. History Early history The first cinema was founded in Łódź in 1899, several years after the invention of the Cinematograph. Initially dubbed ''Living Pictures Theatre'', it gaine ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Vas
Robert Vas (''Vas Róbert'', 3 March 1931 in Budapest – 10 April 1978) was a Hungarian film director who settled in England. He came to England after the Hungarian uprising in 1956. He was committed to documentary, like ''Refuge England'' (1959) and, after a short period working for the National Coal Board, he went on to make a seminal series of films for the BBC. These include ''The Golden Years of Alexander Korda'' (1968) and ''Heart of Britain'' (1970), ''The Issue Should be Avoided'' (1971), ''My Homeland'' (1976), a three-hour examination of the life of Joseph Stalin (1973), and ''Nine Days in '26'' (1974). He had planned to make films about the "Gulag Archipelago" and the wartime bombing of Dresden before his untimely death on 10 April 1978.Gömöri György - Tisztelt Szerkesztőség! www.es.hu 2003. máj. 2. "... ahol Hochhuth ürügyén írtam erről, illetve Vas Róbert tragikus körülmények között, fiatalon meghalt, londoni magyar filmrendező (úgy emlékszem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michael Grigsby
Michael Kenneth Christian Grigsby (7 June 1936 – 12 March 2013) was an English documentary filmmaker. With a filmography spanning six decades and nearly 30 films, Grigsby occupies a unique position in British documentary filmmaking, having witnessed and commented on many of the dramatic changes in British society (and beyond) from the late 1950s into the next century. As a critic noted, "from Michael Grigsby back to John Grierson runs an unbroken tradition in British documentary-making: a passionate commitment to the poetry of everyday life." Early life and career Born in Reading, Berkshire, Grigsby's passion for documentary dates back to his time at Abingdon School, an independent boarding school for boys, where he attended from 1949 through 1955. There, he ran the school's film society and discovered the films of John Grierson's documentary movement. These had an amazing impact on then 14-year-old boy. While at school, he also talked the headmaster into funding his first ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nice Time
''Nice Time'' is a 1957 documentary film made by Alain Tanner and Claude Goretta in Britain and included in the third Free Cinema programme at the National Film Theatre, London in May 1957. It won the Experimental Film prize at the film festival in Venice and much critical praise. It is approximately 17 minutes in length, and comprises 190 shots of crowds of leisure-seeking people taken over 25 weekends in London's Piccadilly Circus. There is no narration, and no dialogue; a soundtrack consisting of several folk songs (including the American song "Greenback Dollar" and other skiffle songs) ties shots together into groups, while there is little recorded sound from the scenes shown on screen. The filmmakers, both in their late twenties, made the documentary on a shoestring budget after receiving a grant of £240 from the British Film Institute. Chief among the film's subjects are movies and other entertainment; flirting, sex, and prostitution Prostitution is the business o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claude Goretta
Claude Goretta (23 June 1929 – 20 February 2019) was a Swiss television producer and film director. Life and Career His 1973 film '' L'Invitation'' was nominated for the Academy Award for Best Foreign Language Film. His 1981 film '' La provinciale'' was entered into the 31st Berlin International Film Festival. Goretta is buried at the Cimetière des Rois (Cemetery of Kings), which is considered the Genevan Panthéon. Selected filmography * ''Nice Time'' (1957), with Alain Tanner * '' The Invitation'' (1973) * ' (also known as, ''Not As Bad As All That'', 1974) with Gérard Depardieu * ''The Lacemaker'' (1977) * '' La provinciale'' (1981) * ''The Death of Mario Ricci ''The Death of Mario Ricci'' (french: La mort de Mario Ricci) is a 1983 Swiss-French drama film directed by Claude Goretta. It was entered into the 1983 Cannes Film Festival where Gian Maria Volonté won the award for Best Actor. Cast * Gian M ...'' (1983) * '' Si le soleil ne revenait pas'' (1987) Refe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
