Film studies

Introduction Queer Cinema has been in existence for decades but without a name. It identified with avant-garde cinema. In 1991, Queer Cinema was introduced at Toronto Film Festival as a concept. It also as known as a concept that re-examined and reviewed the image of homosexuality. Queer Cinema became more visible only in the 1990s with the global traumatizing effects of AIDS. It also known as New Queer Cinema, such films have become a marketable commodity and very much an identifiable movement. Queer Cinema Reborn at 1990s. “ New Queer Cinema” is a term used to describe the renaissance of gay & lesbian filmmaking by the Americans. Gus Van Sant is a leader for such cinema with the contributions My Own Private Idaho (1991) & Even Cowgirls Get the Blues 1993). New Queer Cinema is not a single aesthetic but a collection, taking pride in difference. Unfortunately, it is a male homosexual cinema that focuses on male desires. Lesbianism remains quite invisible (like mainstrea

Feminist film theory Introduction Women are supposed to cook and serve her husband at the home. There are the close-minded for the woman. Started in the 1920s, looking at women’s expression of her own subjectivity. Feminist film theory matured in the late 1960s, after the radicalized feminist movement (of sexual liberation and political debate of female representation). Feminism is a set of political practice seen through the analysis of the social/historical position of women as subordinated, oppressed or exploited in dominant modes of production (such as capitalism) and/or by social relations of patriarchy or male domination. There is a film can represent the feminist film theory which called 'Easy A', director by Will Gluck in 2010. Synopsis High school student Olive Penderghast (Emma Stone) finds herself the victim of her school's "rumor mill" when she lies to her best friend Rhiannon (Alyson Michalka) about a weekend tryst with a fic

Theory Discussion French New Wave, which is also known as French Nouvelle Vague, can be considered as one of the most influential film movements that took place in the history of cinema. The ripples created by this cinematic movement can even be felt today. A group of critics, who wrote for a French film journal called Cahiers du Cinema, created the film movement. It began as a movement against the traditional path that French Cinema followed, which was more like literature. The French New Wave had the potential to bring a radical change to French cinema. Before 1950s & 1960s, French films were mainly literary adaptations i.e. fictional tales published in books and adapted to cinema. These films were usually filmed within the studio system or on big budget spectacles and international co-productions. The late 1950s and early 1960s saw the rise of a new generation of filmmakers around the world. In country after country, there emerged director born before World War II but gro

Introduction The neorealist movement began in Italy at the end of World War II as an urgent response to the political turmoil and desperate economic conditions afflicting the country. Directors such as Roberto Rossellini, Vittorio De Sica, and Luchino Visconti took up cameras to focus on lower-class characters and their concerns, using nonprofessional actors, outdoor shooting, (necessarily) very small budgets, and a realist aesthetic. The best-known examples remain De Sica’s Bicycle Thieves, a critical and popular phenomenon that opened the world’s eyes to this movement, and such key earlier works as Rossellini’s Open City, the first major neorealist production. Other classics of neorealism include De Sica’s Umberto D. and Visconti’s La terra trema, but the tendrils of the movement reach back to De Sica’s The Children Are Watching Us and forward to Rossellini’s The Flowers of St. Francis, as well as to some filmmakers who did their apprenticeships in this school, Michelangelo Antonio