FILM APPRECIATION NOTES

UNIT 1: LANGUAGE OF CINEMA

Cinema uses shots, shot sequences, scenes and dramatic sequences to communicate an idea
in the same way that written language uses letters, words, sentences and paragraphs. Using
language as an organizational structure can give your video greater narrative impact and
broader appeal. They say a picture is worth a thousand words. A moving picture is worth
even more.

A language is more than a collection of words, written or spoken, based on region or

ethnicity. In the broader sense, language is a system of terms, symbols and syntax used to
generate and communicate meaning. Visual language allows us to record ideas in a way that
is more universal than spoken words.

From ancient cave paintings to modern interactive games, humans have excelled at visual
storytelling. Cinema is a relatively new media whose stories transcend geographical
boundaries. Since the dawn of moving pictures in the 1890s, cinema has evolved as a
language spoken across the globe. Fortunately, this universal language is far easier to learn
than a foreign dialect.

The language of cinema starts with the shot. In film and video, a shot is a series of still
image frames that runs for an uninterrupted period of time. Like a letter in written language,
the shot is the smallest piece of visual language. However, a shot is closer to a word
because it communicates much more than a single letter can.
Depending on its elements, a shot can tell the entire story or just a tiny piece. These
elements include the shot’s duration, camera angle and movement, sound, lighting and all
the visual design of the production that comprise its “mise-en-scène.” If an actor or actors
are in the shot, their physical performance and emotions can also communicate more than
dialogue.

SHOT
A shot refers to a continuous sequence of frames captured by the camera without any cuts
or edits. It represents a single, uninterrupted recording of a particular subject or action.
Shots are the basic building blocks of a film's visual structure and are combined together in
the editing process to create a cohesive narrative.

A shot typically lasts a few seconds to several minutes, depending on the desired effect and
the specific scene being captured. It can focus on a single character, a group of characters,
an object, or a particular location. The duration, framing, camera movement, and other
technical aspects of a shot are determined by the director's vision and the cinematographer's
expertise.

Each shot serves a specific purpose within the context of the story. It can establish the
setting, introduce characters, convey emotions, provide information, or advance the plot.
The arrangement and sequencing of shots create a visual rhythm and flow, guiding the
viewer's attention and shaping their perception of the narrative.

In post-production, shots are edited together to create a seamless visual experience. The
transitions between shots, such as cuts, fades, or dissolves, help establish the pacing,
continuity, and overall aesthetic of the film. The composition, lighting, camera angles, and
other visual elements within a shot contribute to the film's visual language and convey
meaning to the audience.
 Difference between shot and sequence
A shot sequence communicates an idea, while a scene depicts a narrative event in the story.
If a shot sequence is comparable to a written sentence, a scene is a paragraph. The event of
our opening example is a woman fighting off an attacker. This is a complete scene, but it
could continue into a dramatic sequence if the attacker gets up and chases the woman. A
dramatic sequence is a collection of dramatically linked scenes that communicates a
complete narrative idea. It is comparable to a series of paragraphs or a chapter in a book.
Scenes of different locations and characters are intercut to tell the story. We could expand
upon the example scene with scenes of police searching for the man intercut with scenes of
the wanted man chasing the woman.

 Cinematic language in film can come in many different forms. Take the following
examples:

Camera framing:

a camera angle and framing can tell us how to feel about a character. For example, if the
camera is looking at a character from a low angle, it shows the character is important or
powerful. If the camera is looking from a high angle, it can show the character is small and
weak.

Lighting and colour:

a dark and dull setting can tell us that we should feel tense or scared. Or a light and
colourful setting can tell us to feel happy and warm.
 Performance:

an actor’s performance is the key to understanding their emotions throughout a film. They
can communicate this in a number of ways through facial expressions, body language, pace
and tone. The writer might typically convey this intention through stage direction or a
parenthetical.

 The basic types of shots in a film are:

1. The extreme wide shot

2. The wide, also known as a long shot
3. The full shot
4. The medium shot
5. The medium close-up shot
6. The close-up shot
7. The extreme close-up shot
8. The establishing shot

SCENE
In filmmaking and video production, a scene is generally thought of as a section of a motion
picture in a single location and continuous time made up of a series of shots, which are each
a set of contiguous frames from individual cameras from varying angles.

Or
a division of an act in a play during which the action takes place in a single place without a
break in time : a part of a play, movie, story, etc., in which a particular action or activity
occurs : a view or sight that looks like a picture.

Sequence
A sequence refers to a series of scenes that are thematically or narratively connected and are
often presented together as a cohesive unit. Sequences play an important role in structuring
a film's storyline, conveying meaning, and enhancing the overall cinematic experience.

A sequence typically consists of multiple shots and can range in length from just a few
seconds to several minutes. It is longer than a single shot but shorter than a full scene or act.
A sequence often has a distinct beginning, middle, and end, and it may focus on a specific
event, action, or idea within the larger context of the film.

Sequences are used to create various effects in filmmaking. They can establish mood or
atmosphere, build tension, provide exposition, develop characters, or propel the plot
forward. They serve as building blocks that contribute to the overall narrative structure,
allowing filmmakers to craft a cohesive and engaging story.

Filmmakers employ different techniques to create sequences, such as editing,

cinematography, sound design, and music. The way shots are arranged, transitions between
shots, pacing, and the overall visual and auditory composition all contribute to the impact
and effectiveness of a sequence. For example, an action film might have a sequence that
follows a high-speed car chase, combining dynamic camera movements, fast editing, and
intense sound effects to immerse the audience in the thrilling experience. In contrast, a
dramatic film might have a sequence depicting a heartfelt conversation between two
characters, utilizing slower pacing, intimate close-ups, and emotionally resonant dialogue to
convey the depth of their connection.
SCREENPLAY
It is written text that provides the basis for a film production. Screenplays usually include
not only the dialogue spoken by the characters but also a shot-by-shot outline of the film’s
action. Screenplays may be adapted from novels or stage plays or developed from original
ideas suggested by the screenwriters or their collaborators. They generally pass through
multiple revisions, and screenwriters are called on to incorporate suggestions from
directors, producers, and others involved in the filmmaking process. Early drafts often
include only brief suggestions for planned shots, but by the date of production a screenplay
may evolve into a detailed shooting script, in which action and gestures are explicitly stated.

PROPER SCREENPLAY FORMAT INCLUDES:

1. Scene headings/slug lines

2. Action lines
3. Character names
4. Dialogue
5. Parenthetical(s)

Mise en scène
Mise en scène, pronounced meez-ahn-sen, is a term used to describe the setting of a scene
in a play or a film. It refers to everything placed on the stage or in front of the camera—
including people. In other words, mise en scène is a catch-all for everything that contributes
to the visual presentation and overall “look” of a production. When translated from French,
it means “placing on stage.”
 10 Components of Mise en Scène in Film

Mise en scène creates a sense of place for the audience whether they realize it or not. It does
so by using:

1. Actors: Actors, their performances, and their performance styles are crucial parts of mise
en scène. When an actor is on screen, they’re typically the focal point, so their presence
carries a lot of weight for the overall look of the story.

2. Location: The location of the scene sets the mood and supports the action. For example,
in a scene in which a man proposes to his girlfriend, a domestic setting sets a completely
different tone than a public one.

3. Set design: Set design refers to everything the audience sees within a particular scene.
These details help build out the world of the location and add even more context to the
story. If it’s a dorm room, are there books and notebooks on the desk to indicate studying?
Or are there pizza boxes and red cups to indicate a party?

4. Lighting: Lighting is often the tool that conveys mood most clearly. High-key lighting,
often used in musicals and romantic comedies, relies on hard light to minimize shadows.
Low-key lighting, often used in horror movies, features a high-contrast lighting pattern to
both brighten and darken parts of the frame.

5. Shot blocking and camera placement: Blocking is working with performers to figure
out their body positions, gestures, and movements on stage. In cinema, blocking also
involves working out the placement and movements of the camera, and can impact the
lighting, set design, and more. Both shot blocking and camera placement are effective tools
that convey things like characters’ status and relationships to the audience.
6. Composition: Composition is the deliberate selection of frames and camera angles that
make up a shot. Manipulating composition can accentuate the emotional themes of the story
and communicate a sense (or lack) of meaning to the audience.

7. Depth of space: The depth of space is the distance between people, props, and scenery,
both in relation to one another and the camera. Much like shot blocking, it can tell the
audience a lot about the tone of the scene and the status of the characters. Is the space
shallow or deep? Does this accurately capture the truth of the narrative?

8. Film stock: The film stock refers to the appearance of the movie on the screen. Is it in
black and white, or color? Is the film fine-grain, or grainy? Each tells a different story.

9. Costumes: Costumes are the clothes actors wear and how they’re tailored to fit them. For
costumes to be effective, a costume designer must know which colors look right on a
character, and then reconcile this with the colors suited to the actor playing the part and the
color palette of the production design.

10. Hair and makeup: Hair and makeup are the physical touches that help actors transform
into their characters, such as prosthetics, blood, or aging techniques. Like costumes, hair
and makeup are fundamental ingredients in the story being told.

MONATGE SEQUENCE
In film, a montage refers to a sequence of rapidly edited shots or images that are juxtaposed
to convey a condensed passage of time, a series of events, or a collection of ideas or
emotions. It is a powerful editing technique used to compress information, create visual
impact, and evoke specific responses from the audience.
Montages are often characterized by their fast-paced editing, with shots that are relatively
short in duration. These shots can be fragments of scenes, images, or even abstract visuals,
creatively arranged to convey a particular message or narrative. The purpose of a montage
can vary depending on the filmmaker's intention and the context of the film.

Here are a few common uses of montages in film:

1. Passage of Time: Montages are frequently employed to show the progression of time in a
condensed and visually engaging manner. For example, a montage might depict the main
character training, studying, and preparing for an event, effectively conveying a sense of
progress and development.

2. Character Development: Montages can be used to depict a character's transformation,

growth, or change over time. By showcasing a series of significant moments or actions, a
montage can efficiently illustrate a character's journey or arc.

3. Information Delivery: In certain cases, montages are used to deliver important

information or backstory efficiently. For instance, a film might use a montage to show
newspaper headlines, archival footage, or interviews to provide historical context or
establish a specific setting.

4. Emotional Impact: Montages can evoke strong emotions by presenting a series of

evocative images or moments. For example, a love montage might depict a couple's
romantic moments, conveying the depth of their relationship and capturing the essence of
their bond.

5. Narrative Progression: Montages can advance the story by bridging gaps or transitions
between different events or locations. Instead of showing every single detail, a montage
allows the filmmaker to move the narrative forward quickly while keeping the audience
engaged.

The creative use of editing techniques, such as visual and rhythmic patterns, transitions, and
the integration of music or sound effects, significantly contributes to the impact and
effectiveness of a montage. It is a versatile tool that filmmakers employ to convey
information, evoke emotions, and enhance the storytelling experience in a concise and
visually striking manner.

CONTINUITY
Continuity editing, also known as invisible editing or classical editing, is a dominant style
of film editing that aims to create a seamless and smooth flow of images, maintaining a
sense of spatial and temporal coherence within a scene or sequence. Its primary objective is
to maintain continuity and coherence in the narrative, allowing the audience to follow the
story without being distracted by the editing itself.

Continuity editing is based on a set of principles and techniques that have been widely used
in classical Hollywood cinema and have become standard practices in filmmaking. Some
key features of continuity editing include:
1. Shot-Reverse Shot: This technique involves alternating shots between two or more
characters engaged in a conversation or interaction. It maintains the spatial continuity by
showing the characters facing each other and exchanging dialogue.

2. 180-Degree Rule: The 180-degree rule ensures consistent spatial relationships between
characters and objects within a scene. It establishes an imaginary line called the "axis of
action" and restricts the camera to one side of that line. This helps maintain consistent
screen direction and perspective, preventing disorienting jumps in the spatial layout.

3. Match Cuts: Match cuts are used to create smooth transitions between shots by
connecting visually or thematically related elements. Examples include matching the shape,
movement, or color between two shots to create a seamless connection and maintain visual
continuity.

4. Eyeline Match: Eyeline matches establish a logical connection between a character

looking off-screen and the subsequent shot that reveals what they are looking at. This
technique helps the audience understand the character's perspective and maintain visual
continuity.

5. Crosscutting/Parallel Editing: Crosscutting is the technique of intercutting between two

or more separate events happening simultaneously in different locations. It creates a sense
of tension, suspense, or thematic connection between the events while maintaining the
narrative coherence.
6. Establishing Shots: An establishing shot is often used at the beginning of a scene or
sequence to establish the location, setting, or context. It provides a wide view that helps
orient the audience and maintain spatial continuity.

By adhering to these principles and techniques, continuity editing strives to create a

seamless and coherent visual narrative that allows the audience to focus on the story rather
than being distracted by inconsistencies or jarring editing choices. While there are other
approaches to editing, continuity editing remains a widely used and effective method in
traditional narrative filmmaking.

DEEP FOCUS
Deep focus is when an object or subject is in sharp detail and contrasts against its
surroundings, which results in an image that has a high degree of depth and clarity.

It can also refer to the use of deep-focus cinematography, which uses lenses with long focal
lengths (35mm or longer) to create shots where both near and distant objects are sharply
focused at the same time. Deep Focus is the ability to focus intently on a particular task
without being distracted.

This technique was pioneered during WWII because it allows filmmakers to shoot scenes
without having to cut away from one shot into another as much, making for more fluid
continuity between shots but sometimes sacrificing close-up detail.

FILM EDITING
Film editing is the process that turns individual scenes and shots into a coherent motion
picture. Shots are cut or assembled to combine into the final movie. Mostly done during
post-production, aspects of film editing can involve physical strips of celluloid film, digital
files, or both. The result of editing is called a “cut,” which is an ordered sequence of shots
that creates a specific rhythm and tells a story in chronological order.

It involves several technical and creative decisions, including organizing the footage into a
meaningful order and adding transitions. The film editor works closely with other cinematic
professionals such as directors, producers, and actors to achieve the highest-quality final
product — often a feature film — within budget and schedule constraints.

Here’s a list of a few of the typical responsibilities of a film editor:

1. Assemble all raw footage

2. Work closely with the director

3. Inputting uncut rushes and sound

4. Digitally cutting files into usable content

5. Work with all other key production staff

6. Insert any sound and dialogue effects

7. Review the final film

Diegetic sound
Diegetic sound is any sound that originates from the world of a film. A very simple way to
think about diegetic sound is to think of it as that could make sound in the world of a film.
If the characters can hear it, it's diegetic. The sound doesn't have to be featured on-screen.
In fact, many diegetic sounds are not shown on-screen. Say there’s an emergency and an
ambulance is called. The corresponding siren sound would be diegetic, even if it’s not
shown on screen. This is because it’s a natural sound of the film world.

Examples of Diegetic Sounds:

1. Dialogue — even internal monologue is considered diegetic sound because it's the
voice inside the character's head
2. Music — piano playing at a restaurant, music in an elevator, a street performer
banging drums
3. Sound effects — explosions, rain drops, car engines, and many, many more

Non-diegetic
Non-diegetic sound is any sound in a film that doesn’t originate from the world of the film.
These are typically sounds that are added for effect in post-production. For example, a film
soundtrack is almost always non-diegetic sound because the characters don’t hear it. The
short answer to what is non-diegetic sound is this: If the characters can't hear it, it's non-
diegetic.

Examples of Non-Diegetic Sounds

1. Character narration
2. Soundtrack or music overlay
 3. Sound effects outside of the film-world

OFFSCREEN SOUND
A sound emitted by a source which is not visible in the frame, but which is part of the
diegetic world of the film, i.e. a character shouting from offscreen, with the next shot then
showing this character, or the sound of an explosion that is not (yet) visible in the frame.

Off-screen sound is often used to enhance the storytelling or create a more immersive
experience for the audience. It can include various types of sounds, such as dialogue or
voices of characters who are not currently visible, ambient noises, music, or sound effects
that are occurring in the story's environment.

For example, in a scene where two characters are having a conversation in a room, if the
camera focuses on one character while the other is speaking, the voice of the character who
is off-screen but still talking would be considered off-screen sound. Similarly, if a car is
shown driving on a street but the engine sound continues after the car leaves the frame, that
sound would also be classified as off-screen sound.

Off-screen sound can be a powerful tool in filmmaking, helping to build tension, create a
sense of realism, or guide the audience's attention. It adds depth to the visual narrative and
contributes to the overall audiovisual experience.

SYNC SOUND
Sync sound (synchronized sound recording) refers to sound recorded at the time of the
filming of movies. It has been widely used in movies since the birth of sound movies.

Film synchronization of image and sound in a sound film. Synchronization is important in

fields such as digital telephony, video and digital audio where streams of sampled data are
manipulated. In electric power systems, alternator synchronization is required when
multiple generators are connected to an electrical grid.

Indian films shot using sync sound include the first Indian talkie Alam Ara released in 1931
and art house films such as Satyajit Ray’s Pather Panchali. The then-popular Mitchell
camera, which could be operated silently made it possible to shoot in sync sound.

COLOR
Colour is one of the most significant elements of contemporary, visual storytelling. It is
known that each colour symbolises some emotion and with the change of colour and tone,
there comes a drastic change in how we see and perceive the stories. While there are certain
directors who are known for using colours efficiently and effectively. The use of color in
film is a creative choice made by filmmakers to evoke certain emotions, enhance themes, or
differentiate between different story elements.

In filmmaking, color is used to set the tone of a scene before any of the actors have even
uttered a word. Red is used to denote passion, danger or power. Pink signifies innocence,
femininity and beauty. Yellow is associated with joy, naivety and insanity. Blue symbolizes
isolation, passivity and calmness.

The use of color in film for stylistic elements is a powerful technique employed by
filmmakers to create a distinctive visual style and enhance the overall cinematic experience.
Here are some ways in which color is used stylistically in films:

1. Color Filters and Palettes: Filmmakers may employ specific color filters or create a
consistent color palette throughout the film to establish a unique visual style. This
can involve using a particular set of colors or tones that are consistently present in the
scenes, creating a cohesive and stylized look.
2. Symbolic Color Associations: Colors can be used symbolically to represent themes,
emotions, or character traits. Filmmakers may assign specific colors to characters,
locations, or story elements to convey meaning or create visual motifs. This can
contribute to the overall style and narrative of the film.

3. High Contrast Colors: Bold, high contrast color schemes can create a visually striking
and dramatic effect. Filmmakers may use vibrant, saturated colors or stark contrasts
between light and dark to create a visually dynamic and stylized look that captures
the audience's attention.

4. Color as Visual Metaphor: Colors can be employed as visual metaphors to represent

abstract concepts or ideas. For example, a film might use a gradual shift in color from
dark and desaturated to vibrant and saturated to symbolize a character's emotional
transformation or a change in the narrative arc.

5. Color Grading Techniques: Filmmakers often utilize color grading techniques during
post-production to manipulate and enhance the colors in a film. This can involve
adjusting the color temperature, tint, saturation, or contrast to achieve a specific
stylistic effect. Color grading can help create a particular mood or atmosphere, such
as a cold, desaturated look for a dystopian setting or warm, golden tones for a
nostalgic flashback sequence.

6. Color as Visual Rhythm: The strategic use of color can create a sense of rhythm and
pacing within a film. Filmmakers may use color to guide the audience's attention or
create visual patterns that enhance the storytelling. This can involve using color
contrasts, patterns, or color shifts to create visual tension or to signify transitions
between different narrative elements.
PLOT
Plot refers to the main events in a story composed as a connected sequence of events. The
plot can be made up of several seemingly unconnected threads, but as long as they are
presented in a way that communicates to the viewer that these actions and events are
connected in some way, you may safely refer to that chain of events as the “plot”.

What makes a good plot?

1. Explains the chain of events in a story.

2. Shows a causal relationship between each event.
3. Connects the actions and events in a logical manner.

UNIT 2: HISTORY OF CINEMA

WHAT IS GERMAN EXPRESSIONISM IN FILM?

German Expressionism is a particular artistic style that first appeared in poetry and theatre
around 1910. It became popular in film 10 years later after WWI. It comes partly from
German Romanticism and gives a subjective view of the world. It visualizes the country's
collective anxiety through distorted and nightmarish imagery. Expressionists had little
interest in their work being aesthetically pleasing. This style flourished after the horrors of
WWI, and the inevitable economic devastation that followed. When it comes to film noir,
(German) Expressionism stands for The Cabinet of Dr. Caligari (1919/20) and the dark
distinctiveness of the best-known films of the Weimar Republic that followed, from 1919 to
early 1933, the end of World War I to the Nazi regime. Many films produced in Germany
during that time are far from noir, but memory and viewing availability have been selective.
Certain Weimar titles and directors come back again and again in the vast literature on film
noir.

Noir's inheritance from Weimar cinema has been seen in two different ways:

(1) resemblances in style, structure and themes, especially a visual language that menaces
the characters while seducing the audience, conveying anguish or worse for characters
trapped by uncertainties and betrayals. Framing stories sometimes lead to the past (via
flashback) where most of the story takes place, a structure that, in this kind of film,
underscores fatalism: it is too late – it has already happened.

(2) skills and cinematic experiences brought to Hollywood by the flood of emigres from the
German film industry (regardless of national origin) fleeing the Hitler regime during the
1930s – directors, cinematographers, editors, writers, composers, producers, actors and
almost every other trade – that could be put to new use when the time came.
Paul Schrader's 1972 ‘Notes on film noir’ is still one of the most influential essays on the
subject. Schrader devotes an entire section to ‘The German Influence’:

Characteristics of German Expressionism

1. High angles
2. Deep shadows/chiaroscuro lighting
3. Extreme camera tilting
4. Impossible sets

WHAT IS FILM NOIR?

Film noir is a stylized genre of film marked by pessimism, fatalism, and cynicism. The term
was originally used in France after WWII, to describe American thriller or detective films
in the 1940s and 50s. Though, Hollywood’s film noir stretches back to the 1920s. Film noir
literally translates to “black cinema” and French critics used it to describe Hollywood
movies that were saturated with darkness and pessimism not seen before.

It’s hard to say if it's is a genre or style, and the elements of noir listed below do not all have
to be present for the film to be considered noir. But they are extremely common with this
style.

COMMON ELEMENTS OF FILM NOIR

5. Anti-hero protagonist
 6. Femme fatale
7. Tight, concise dialogue
8. High-contrast lighting
9. Post-war disillusionment

WHAT IS ITALIAN NEOREALISM?

Rising from the ashes of World War II as an antidote to fascist ideology, Italian neorealism
is a film movement that developed in the mid-1940s in the aftermath of World War II and
was responsible for changing cinema forever.

The term Neorealismo, which directly translates to “new reality” or “new realism,” sprouted
in the wake of World War II in Italy. Neorealismo signified a trend in art and film that
aimed to provide insight into the contemporary Italian society of the 1940’s. The films
associated with Italian Neorealism are focused on showing Italy removed from Fascist
influence.

The films focused on everyday life with stories about poverty and working-class struggles
in post-war Italy.

Characteristics of Italian Neorealism:

1. Realism: Italian Neorealist films aimed to portray reality as it is, emphasizing the
lives and experiences of common people. The stories were often set in impoverished
urban or rural environments, exploring the struggles, hardships, and social issues
faced by the working class.

2. Location Shooting: Neorealist filmmakers preferred to shoot on location rather than

in studios, using real settings and incorporating real people from the community. This
added authenticity and a documentary-like quality to their films.
 3. Non-Professional Actors: Italian Neorealist films often featured non-professional
actors or individuals from the working class instead of trained performers. This
further contributed to the sense of realism and authenticity in the performances.

4. Social Commentary: Neorealist films tackled social and political issues of post-war
Italy, such as poverty, unemployment, corruption, and the aftermath of the war. They
aimed to shed light on the conditions of ordinary people and provoke social
awareness and change.

5. Moral and Humanistic Themes: Italian Neorealist films explored themes of morality,
empathy, and humanism. They often depicted the struggles of individuals caught in
challenging circumstances and emphasized the importance of compassion and
solidarity.

FRENCH NEW WAVE

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. Few of the leading French movie directors supported the French New
Wave at its inception. They include Jacques Demy, Agnes Varda, Alain Resnais, Louis
Malle, Jacques Rivette, Eric Rohmer, Claude Chabrol, Jean-Luc Godard, and Francois
Truffaut.
These directors have produced hundreds of movies to the French cinema industry and their
involvement created a tremendous impact on the success of French New Wave. As a result,
many other French directors were influenced by it, which created an ideal platform to
deploy the radical change that the French cinema industry required.

Key Characteristics of the French New Wave:

1. Auteur Filmmaking: The French New Wave directors, including François Truffaut,
Jean-Luc Godard, Éric Rohmer, Jacques Rivette, and Claude Chabrol, emphasized
the role of the director as the author of the film. They brought their personal vision
and style to their works, often exploring recurring themes and using distinctive
techniques.

2. Narrative Experimentation: The New Wave filmmakers experimented with narrative

structures, rejecting traditional linear storytelling. They employed nonlinear
narratives, fragmented storytelling, and ambiguity to create a more open-ended and
reflexive cinematic experience.

3. Jump Cuts and Editing Innovations: The use of jump cuts, which involved abrupt and
unconventional cuts within a scene, became a signature technique of the French New
Wave. It challenged the continuity editing norms and created a sense of rhythm and
energy in the films.

4. Location Shooting and Natural Lighting: Similar to Italian Neorealism, the French
New Wave directors preferred shooting on location rather than in studios. They
utilized natural lighting and handheld cameras to capture a sense of spontaneity and
realism.

5. Cinéma Vérité Influence: The New Wave directors were influenced by the cinéma
vérité documentary movement. They incorporated documentary-style techniques,
 such as shooting on the streets with minimal equipment and using non-professional
actors, to achieve a sense of authenticity and realism.

6. Self-Reflexivity and Metacinema: The New Wave filmmakers often referenced or

acknowledged the medium of cinema within their films, breaking the fourth wall and
self-consciously commenting on the filmmaking process itself. They playfully
explored the boundaries between reality and fiction, blurring the lines between the
film and the audience.

Prominent French New Wave Films and Filmmakers:

1. "The 400 Blows" (1959) directed by François Truffaut.

2. "Breathless" (1960) directed by Jean-Luc Godard.

3. "Cleo from 5 to 7" (1962) directed by Agnès Varda.

4. "Last Year at Marienbad" (1961) directed by Alain Resnais.

5. "Jules and Jim" (1962) directed by François Truffaut.

6. "Hiroshima Mon Amour" (1959) directed by Alain Resnais.

WHAT ARE MOVIE GENRES?

Movie genres are categories that define films based on narrative or stylistic elements. The
genre of a film can help determine the characters, setting, plot structure, and tone. Action
films, for example, typically include fight scenes and slow-motion camera shots. Horror
films often feature jump scares and have more action than dialogue.

Primary film genres include action, adventure, comedy, drama, fantasy, horror, musicals,
mystery, romance, science fiction, sports, thriller, and Western. War films and zombie films
are examples of themes that can span various genres, like action, drama, or thriller.
WHAT IS A FILM SUBGENRE?
In film, a subgenre is a specific style of filmmaking that falls within a broad genre category
like comedy, horror, or drama. Subgenres differ stylistically. For instance, romantic
comedies and slapstick cartoons qualify as comedies, but the two vary significantly in terms
of storytelling, dialogue, visual style, and humor. Any one film genre may include myriad
distinct subgenres that share commonalities and often overlap.

In the early days of cinema, genres were much more uniform and defined. Just as they were
in literature and other forms of art and entertainment, people would go to the theater to
watch a war film, a musical, or a comedy. The basic genres were well defined and included
some of the following:

1. Action
2. Comedy
3. Drama
4. Fantasy
5. Horror
6. Mystery
7. Romance
8. Thriller
9. Western

From there, you could dive a bit deeper. Sub-genres gave names and classifications to
certain types of films within each genre. The “thriller” genre, for example, had the
following sub-genres:

1. Crime thriller
2. Disaster thriller
 3. Psychological thriller
4. Techno thriller

CLASSICAL HOLLYWOOD CINEMA

Classical Hollywood cinema refers to a style of filmmaking that dominated the American
film industry from the 1910s to the 1960s. It encompasses a set of formal and narrative
conventions that were widely adopted by Hollywood studios during this period. This era is
often seen as a golden age of Hollywood filmmaking and produced numerous iconic films
and legendary filmmakers.

Key Characteristics of Classical Hollywood Cinema:

1. Narrative Structure: Classical Hollywood cinema typically followed a linear and cause-
effect narrative structure. Films were driven by clear goals, obstacles, and resolutions, often
adhering to a three-act structure.

2. Continuity Editing: The films employed continuity editing techniques, ensuring smooth
and seamless transitions between shots. The purpose was to maintain visual coherence and
clarity, creating an illusion of continuous action.

3. Star System: Classical Hollywood cinema was marked by the development and
promotion of stars. Studios would sign actors to exclusive contracts and build their public
personas, often associating them with specific types of characters or genres.
4. Production Code: The Production Code, also known as the Hays Code, was a set of
industry guidelines established in 1930 that regulated the content of Hollywood films. It
imposed moral and cultural standards, restricting the depiction of explicit violence,
sexuality, and controversial themes.

5. Genre Filmmaking: Classical Hollywood cinema embraced various genres, such as

musicals, westerns, comedies, melodramas, film noir, and historical epics. These genres
provided a familiar framework for storytelling and attracted specific audience
demographics.

6. Technical Expertise: Hollywood studios invested in advanced production techniques,

including high-quality cinematography, sound recording, and special effects. This emphasis
on technical excellence contributed to the visual and audio polish associated with classical
Hollywood films.

7. Studio System: The classical Hollywood era was characterized by a studio system, where
major production companies controlled every aspect of filmmaking, from production to
distribution and exhibition. This vertically integrated system allowed studios to maintain
creative control and standardize the production process.

Some notable directors associated with classical Hollywood cinema include Alfred
Hitchcock, Howard Hawks, John Ford, Orson Welles, Frank Capra, and Billy Wilder. Films
like "Casablanca," "Gone with the Wind," "Citizen Kane," and "The Wizard of Oz"
exemplify the aesthetic and narrative qualities of classical Hollywood cinema.
While the classical Hollywood style gradually evolved and gave way to different
filmmaking approaches in the 1960s and beyond, its influence remains significant, and
many contemporary films still draw inspiration from its conventions.

Classical Hollywood Cinema refers to a specific style and era of filmmaking that dominated
the American film industry from the 1910s to the 1960s. It is characterized by a set of
conventions and storytelling techniques that were developed and refined during this period.
Two popular genres within Classical Hollywood Cinema were Westerns and Musicals.

Westerns
Western films were set primarily in the American Old West and typically portrayed stories
of cowboys, outlaws, and lawmen in conflict with each other and the harsh environment.
Some notable examples of Western directors include John Ford, Sergio Leone, and Howard
Hawks. Westerns often featured sweeping landscapes, intense gunfights, and moral
dilemmas.

Key elements of Westerns:

- Setting: The films were typically set in the American frontier during the 19th century,
showcasing landscapes such as deserts, canyons, and small frontier towns.

- Characters: The protagonists were often rugged cowboys or lawmen, while antagonists
included outlaws, Native Americans, or corrupt figures. The characters embodied traits like
bravery, honor, and self-reliance.
- Themes: Westerns explored themes of justice, survival, exploration, and the clash of
cultures. They also delved into ideas of individualism, the taming of the wilderness, and the
conflict between civilization and lawlessness.

- Iconography: Certain visual and narrative elements became iconic in Westerns, such as
cowboy hats, six-shooters, saloons, stagecoaches, and the image of a lone cowboy riding
into the sunset.

Famous Western films:

- "Stagecoach" (1939)

- "High Noon" (1952)

- "The Searchers" (1956)

- "The Good, the Bad and the Ugly" (1966)

Musicals
Musicals were a genre that incorporated song and dance numbers into the storytelling. They
often presented larger-than-life performances and showcased the talents of singers, dancers,
and actors. Musicals were known for their lavish production design and elaborate
choreography.

Key elements of Musicals:

- Music and Dance: Musicals featured original songs and dance numbers integrated into the
narrative. They ranged from light-hearted and comedic to dramatic and emotional.
- Performance: Musicals showcased the skills of actors who could sing and dance, such as
Fred Astaire, Gene Kelly, and Judy Garland. These performers became legendary for their
talent and charisma.

- Spectacle: Musicals were known for their extravagant sets, costumes, and choreography.
They aimed to create a sense of spectacle and escapism for the audience.

- Narrative Structure: Musicals often followed a formulaic structure, where songs and
dances furthered the story or expressed characters' emotions.

Famous Musical films:

- "Singin' in the Rain" (1952)

- "The Wizard of Oz" (1939)

- "West Side Story" (1961)

- "The Sound of Music" (1965)

Classical Hollywood Cinema, with genres like Westerns and Musicals, played a significant
role in shaping the American film industry and establishing a set of storytelling conventions
that continue to influence modern cinema.

FILM NOIR
Film noir is a cinematic genre that emerged in the 1940s and 1950s, primarily in American
cinema. The term "film noir," meaning "black film" in French, was coined by French film
critics who noticed a distinct style and thematic elements in a group of dark, crime-themed
movies. Film noir is characterized by its unique visual style, moral ambiguity, and narrative
tropes.

Visual Style:

One of the defining features of film noir is its distinctive visual style. It often employs high-
contrast black-and-white cinematography, with stark lighting and deep shadows. This
technique creates a moody and atmospheric atmosphere, emphasizing the darkness and
complexity of the characters and their world. Low-angle shots, skewed camera angles, and
disorienting compositions are also common, adding to the sense of unease and tension.

Themes and Atmosphere:

Film noir typically explores themes of crime, corruption, and moral ambiguity. The
protagonists are often cynical, flawed individuals trapped in a corrupt or dangerous world.
They might be detectives, criminals, or ordinary people drawn into a web of deceit and
betrayal. The films often have a fatalistic tone, portraying characters caught in a downward
spiral with little hope of escape. The atmosphere is bleak and pessimistic, reflecting post-
World War II anxieties and a sense of disillusionment.

Narrative Tropes:

Film noir frequently employs narrative tropes that contribute to its distinct style. These
include voice-over narration, a non-linear or fragmented narrative structure, and flashbacks.
The use of voice-over allows the audience to access the thoughts and perspectives of the
main character, often a cynical and disillusioned protagonist. Non-linear storytelling and
flashbacks add complexity and suspense to the narrative, as the audience pieces together the
events leading up to the present moment.
Characteristics of Film Noir:

Several recurring characteristics can be found in film noir. Femme fatales are a common
element, representing dangerous and seductive women who manipulate and betray the male
protagonists. Hard-boiled detectives, often operating in a morally gray area, are also
prevalent. The urban setting, with its dark alleys, rainy streets, and gritty locations,
contributes to the overall atmosphere. The influence of crime fiction and hard-boiled
detective novels of the time is evident in the genre.

Legacy and Influence:

Film noir has had a significant impact on the development of cinema and storytelling. Its
visual style and narrative techniques have influenced numerous filmmakers across different
genres and countries. The themes and atmosphere of film noir have been revisited and
reinterpreted in various forms, inspiring neo-noir films in later decades. The genre
continues to captivate audiences and remains a vital part of film history.

BEGINNING OF INDIAN CINEMA (PHALKE, SILENT

CINEMA)
India witnessed the first motion picture in the late 1910s and was introduced by late
Dhundiraj Govind Phalke, also popularly known as Dada Saheb Phalke, through the film
“Raja Harishchandra”. He is also considered to be the “Father of Indian cinema”. Although
it was a silent film, little did he know that he was giving birth to an art form whose sound
will echo around the world. His initiative propelled the rise of many filmmakers in our
country. Although it took nearly two years after Raja Harishchandra for the first motion
picture with sound to release i.e Alam Ara directed by Ardeshir Irani which was released on
March 14, 1931, and the seed of colour cinema was also sowed through ‘Kisan Kanya’
directed by Moti B Gidwani in 1937.

Indian filmmakers call the era after the end of British Raj as “The Golden Era” from the
1940s to the 1960s. This was the time when parallel cinema came into existence and
Bengali filmmakers like Satyajit Ray, Ritwik Ghatak, Mrinal Sen and many more were the
pioneers and major contributors. It was the impact of Indian theatre and Bengali literature
which gave rise to the parallel cinema and its influence was encouraged in many parts of the
country, as well. Especially, in the southern part of our country, filmmaker Girish
Kasaravalli from Karnataka was one amongst them to carry the torch and introduce it to the
Kannada audience.

On the other hand, films which had songs, dance, fight, and so-called heroism were equally
dominating the Indian film industry. These films were and are still also called as full-
fledged commercial films. They have always been prolific in imbibing the audience with its
intriguing content, be it with the typical family drama, a stereotypic love story or Shahrukh
Khan’s “Palat” theory. Time and again Indian cinema has left its mark on the global
platform through actors like Amitabh Bachchan with his acting skills or Aamir Khan for the
movies he chooses.

Talking of the process of film making, a lot has also transformed and Indian filmmakers
have been successful with the adaptation to this evolving craft. While filmmakers like
Anurag Kashyap articulated the Indian audience, he proved that a realistic film like ‘Gangs
of Wasseypur’ can be made with a commercial outline. On the other hand, South Indian
director SS Rajamouli created a fictional world and took the Indian audience to places
which were less peddled, with his ‘Bahubali’. However, the Indian diaspora has also been a
major contributor to the Indian cinema to hoist its flag over the global platform.

Plainly speaking, Indian films have always been rich and will continue to be rich in terms of
the content, market collection and printing its impressions on a global audience.

The beginning of cinema The great legend Mahadev Patwardhan discovered the art of
cinemas in 1885 while the era of films began with Harishchandra Sakharam Bhatavdekar
aka Save Dada's first short film on wrestling. He was the first one to make a motion picture
in Indian cinemas as he was one of the first witnesses to the Lumiere Brothers film that
premiered in Mumbai. Hmm... now we know from where the inspirations to make movies
came from. After which he brought a camera and a projector and started his film journey by
making films based on day to day life. Interestingly, his film "The Wrestlers" was shot
during a wrestling match that took place in Mumbai and was the first film to be shot by an
Indian. Or we can say, the roots of making realistic films go back in this era as Save Dada's
films were mostly based on reality.

The Silent Era - 1900-1930

The early three decades were considered as social protests in the history of Indian cinema as
only three big banners namely, Kohinoor films, Prabhat Talkies, Bombay Talkies and New
Theatres to name a few ventured into making silent films based on Indian mythology and
social issues. Films like 'Balika Vadhu', 'Mahabharta', Ramayana', 'Krishna Sudama'.
Vichitra Gutika were made. Accordingly, the first ever Indian silent film was produced and
directed by the iconic filmmaker Dadasaheb Phalke. Yes, we are mentioning the very
famous and most talked about movie of Indian cinema, 'Raja Harishchandra'. Back in the
silent era, due to the lack of sound and music, actors need to put more efforts in acting as
that was the only means to express and tell their story to the audience, phew! tough, wasn't
that? The film was a commercial success and paved the way for everything that makes up
Indian cinema today.

From Black- and-white films to colour

The first color film of India is considered as 'Kisan Kanya' that was released in the year
1937 and was made by Modi B Gidwani and Produced under the banner Imperial Pictures
by Ardeshir Irani . However, due to lack of technology, the film didn't appeal to the masses.
The year 1937 also saw Bollywood's first film with special effects. All thanks to Babubhai
Mestry, who was known as India’s Father of Trick photography and special effects
Director. After starting his career as an assistant art director for 1933's 'Haatim Tai', he used
some innovative technique to create some special effects on the screen for the movie
'Khwaab Ki Duniya' which released in 1937, where he used dim light and black curtains as
the background on which objects were given the illusion of movement with the help of a
black thread.

1950s – Cinema and the Nation

India became independent in 1947. The film industry—due to colonial censorship—had not
been a significant cultural force in the anti-colonial movement (contrast with literature,
especially in the high-Gandhian period from the 1920s on). In the first decade after
 independence, however, cinema was to become the major cultural form in which the new
Indian nation was to be imagined and represented. Bombay was not the only location for
this, of course. Bengali and Tamil cinema were already major industries, to name two; and
it’s also worth remembering that before WW2 Bombay was not the only center of Hindi
film production. With the Hindi film industry—and the nation—made over by Partition,
however, by the end of the 1950s Bombay cinema’s ascendancy as the symbolic face of
Indian cinema was complete.

1. Baazi (1951; d. Guru Dutt)

2. Aar Paar (1954; d. Guru Dutt)
3. Shree 420 (1955; d. Raj Kapoor)
4. New Delhi (1956; d. Mohan Segal)
5. Pyaasa (1957; d. Guru Dutt)
6. Naya Daur (1957; d. B.R. Chopra)
7. Chalti Ka Naam Gaadi (1958; d. Satyen Bose)
8. Madhumati (1958; d. Bimal Roy)
9. Mughal-e-Azam (1960; d. K. Asif)
10.Bombai ka Babu (1960; d. Raj Khosla)

Included in this list are most of the major stars of the period: Dilip Kumar (Naya Daur,
Madhumati, Mughal-e-Azam); Madhubala (Chalti ka Naam Gaadi, Mughal-e-Azam);
Waheeda Rehman (Pyaasa); Dev Anand (Baazi, Bombai ka Babu); Raj Kapoor (Shree 420);
Nargis (Shree 420); and Vyjanthimala (Naya Daur; New Delhi; Madhumati).

 Pyaasa is an altogether more melancholy affair. It is one of the most iconic films of the
1950s. It marks a break in the director Guru Dutt’s career, away from lighter caper/comic
 fare to more serious, issues-based cinema. It has an urban setting—Calcutta, not Bombay—
but the protagonist is not a small-town naif but an urban poet who—finds at the end of the
first decade after independence that the promise of that independence has failed. Pyaasa‘s
protagonist Vijay (played by Dutt himself) is a much more virtuous type: a model of
integrity whose failure and lack of recognition is the indictment of his modern, money-
obsessed society and who finally rejects that society. His story is thematized on the two
very different women who love him—more on this too below. S.D Burman’s songs and
Sahir Ludhianvi’s lyrics remain touchstones, hummed and sung every day.

 As a director, producer and star, Raj Kapoor (1924-88) became one of India’s leading
filmmakers during the so-called “golden age” of Indian cinema in the first two decades
following the nation’s independence in 1947. Kapoor is in some ways a lynchpin, a Janus
figure, with one face looking back to the aspirations of the era of independence and the
other toward the present state of star-driven Hindi cinema with its mass appeal and global
audience.

As the son of a prominent stage actor, Raj Kapoor was well positioned to take a leading role
within Indian filmmaking, since much of the impetus for remaking the nation’s cinema
came from the world of Indian theater. Prithviraj Kapoor was a member of the Indian
People’s Theatre Association (IPTA), a leftist organization formed in 1942 with the aim of
using theater to bring greater political awareness to audiences. Many of its members were
interested in film, including K.A. Abbas, a film critic who went on to write and direct for
the cinema, and future filmmaker Ritwik Ghatak. The cinematic trends that interested this
group included Soviet silent cinema, especially Pudovkin, German expressionism, Italian
neo-realism and some of the more populist elements of American cinema—specifically,
Chaplin and Capra.
 Mehboob Khan was a big film man. Not that his films came few and far between. In fact
he was fairly prolific, having directed 25 films in about 27 years. Nor did his films arrive at
the box office with barely a whimper. But he somehow had this unusual knack for reserving
the best for a winner. He did it for “Aurat” in 1940. Then “Andaz” in 1949, “Aan” in early
1950s, followed by “Mother India” in 1957.

In fact, Mehboob knew a winner when he saw one. And in “Mother India” he clearly
notched up one: the film, reflecting the odds and aspirations of an emerging nation, went on
to be the biggest grosser at the box office until K. Asif's “Mughal-e-Azam” rewrote all
records in 1960.

The film turned out to be more than just a box office success story. In fact, “Mother India”
continues to be a benchmark for serious Hindi filmmakers to this day. Relating the story of
a dogged woman faced with adversity on all fronts, including poverty and possible
widowhood, the film was able to blend the colours of patriotism with romance, good old
valour with the problems of development in an emerging nation. Of course, there was the
evil moneylender too as the symbol of all that is wrong with rural India.

The film was nominated for the Academy Award as the best film in foreign language
category besides winning five Filmfare awards. Though widely regarded as Nargis' success
saga — every heroine in subsequent years wanted to do a “Mother India” — Mehboob
deserves a lot of credit for giving the film a contemporary touch without making it too
politically expedient.

ARRIVAL OF SOUND IN POST INDEPENDENCE ERA IN FILMS

The arrival of sound in Indian films after independence had a significant impact on the
industry and filmmaking practices. Here's an overview of how sound technology developed
in Indian cinema during the post-independence era:

1. The Introduction of Sound:

The first Indian sound film, "Alam Ara," was released in 1931, during the pre-independence
era. However, the transition to sound technology was a gradual process, and it took some
time for sound films to become the norm in Indian cinema.

2. Post-Independence Era:

After India gained independence in 1947, the Indian film industry experienced significant
growth and development. The availability of advanced sound recording and playback
equipment, as well as improvements in technology, allowed for better sound quality in
films.

3. Regional Film Industries:

The post-independence era witnessed the growth of regional film industries in India,
alongside Hindi cinema (Bollywood). Regional film industries such as Tamil, Telugu,
Bengali, and Malayalam cinema also adopted sound technology, contributing to the overall
expansion of Indian cinema.

4. Music and Song Integration:

Music has always been an integral part of Indian cinema, and the introduction of sound
technology further enhanced the role of music in films. Musical numbers and song
sequences became more elaborate, with improved sound recording techniques capturing the
richness of Indian musical traditions.

5. Technological Advancements:

With the advancement of sound technology, Indian filmmakers had access to better
recording equipment, mixing consoles, and post-production facilities. This led to improved
sound design, dubbing, and overall audio quality in films.

6. Dubbing and Language Flexibility:

Sound technology allowed for easier dubbing and language flexibility in Indian films.
Dubbing became a common practice, enabling films to be released in multiple languages
and reach a wider audience across India.

7. Evolution of Playback Singing:

The post-independence era also saw the rise of playback singing, where professional singers
recorded songs that would later be lip-synced by actors on screen. This gave rise to
legendary playback singers like Lata Mangeshkar, Asha Bhosle, Kishore Kumar, and
Mohammed Rafi, who played a crucial role in shaping the soundtracks of Indian films.

Overall, the arrival of sound in post-independence Indian cinema revolutionized the

filmmaking process, enabling filmmakers to enhance storytelling through the integration of
music, sound effects, and dialogue. It played a pivotal role in shaping the audiovisual
experience of Indian films and contributed to the growth and popularity of Indian cinema
both within the country and on the global stage.
WHAT IS THE INDIAN NEW WAVE
The Indian New Wave, also known as the Indian Parallel Cinema, refers to a significant
movement in Indian cinema that emerged in the 1950s and gained prominence in the 1960s
and 1970s. It marked a departure from the mainstream commercial Bollywood films and
introduced a more artistic, realistic, and socially relevant approach to filmmaking.

Key Characteristics of the Indian New Wave:

1. Realism and Social Relevance: Films of the Indian New Wave focused on realistic
portrayals of social issues, reflecting the socio-political climate of the time. They addressed
topics such as poverty, corruption, caste discrimination, gender inequality, and the struggles
of the marginalized sections of society.

2. Aesthetic Experimentation: Filmmakers of the Indian New Wave experimented with

narrative structures, visual techniques, and storytelling methods. They often employed
unconventional narrative styles, non-linear storytelling, and innovative camera techniques
to create a distinct cinematic language.

3. Filmmaker Autonomy: The movement emphasized the artistic vision and creative
freedom of filmmakers. Many directors of the Indian New Wave were influenced by global
art cinema and sought to establish a unique identity for Indian cinema as a form of personal
expression.
4. Regional Diversity: The Indian New Wave was not confined to Hindi cinema
(Bollywood) but encompassed films from various regional industries as well, including
Bengali, Malayalam, Marathi, and Tamil cinema. Each regional industry had its own unique
contributions to the movement.

Prominent Filmmakers of the Indian New Wave:

1. Satyajit Ray: Ray, a Bengali filmmaker, is considered one of the pioneers of the Indian
New Wave. His acclaimed "Apu Trilogy" (1955-1959) brought international recognition to
Indian cinema and showcased the movement's focus on humanism and social realities.

2. Mrinal Sen: Sen, also a Bengali filmmaker, explored political and social themes in his
films. Works like "Bhuvan Shome" (1969) and "Calcutta 71" (1971) showcased his bold
and innovative storytelling approach.

3. Ritwik Ghatak: Ghatak, another Bengali filmmaker, was known for his emotionally
charged and politically conscious films. His works like "Meghe Dhaka Tara" (1960) and
"Subarnarekha" (1965) depicted the aftermath of the partition of India and its impact on
individuals.

4. Adoor Gopalakrishnan: Gopalakrishnan, a Malayalam filmmaker, explored existential

and societal themes in his films. "Elippathayam" (1981) and "Mathilukal" (1990) are
considered classics of the Indian New Wave.
The Indian New Wave had a significant impact on Indian cinema by challenging the
dominance of commercial cinema and introducing a more nuanced and socially engaged
approach to filmmaking. It paved the way for subsequent generations of filmmakers to push
boundaries and tell stories that resonated with a more discerning and socially conscious
audience.

GLOBALISATION AND INDIAN CINEMA

Globalization has had a profound impact on Indian cinema, both in terms of content and
distribution. Here are some key aspects of the influence of globalization on Indian cinema:

1. Content and Storytelling: Globalization has opened up avenues for filmmakers to explore
a wider range of themes and narratives. Indian films have increasingly embraced global
issues, diverse cultural perspectives, and international storytelling techniques. Filmmakers
have been inspired by global trends, genres, and cinematic styles, resulting in more diverse
and experimental films.

2. International Collaborations: Globalization has facilitated collaborations between Indian

filmmakers and international talents. Indian films have seen an increase in co-productions
with foreign production houses, allowing for cross-cultural exchange and the infusion of
international expertise. These collaborations have helped expand the global reach of Indian
cinema.

3. Technological Advancements: Globalization has led to the adoption of advanced

technologies in Indian cinema. Filmmakers now have access to state-of-the-art equipment,
visual effects, and post-production techniques, resulting in improved production values and
enhanced visual experiences for audiences.

4. Overseas Market and Diaspora: Indian films have a significant global audience,
particularly among the Indian diaspora. Indian cinema, especially Bollywood, has gained
popularity in various countries, including the United States, United Kingdom, Canada,
Australia, and the Middle East. This has led to the establishment of international
distribution networks, simultaneous releases, and increased box office revenues from
overseas markets.

5. Film Festivals and Recognition: Indian films have gained recognition and accolades at
prestigious international film festivals such as Cannes, Berlin, and Toronto. Global
exposure at these platforms has elevated the profile of Indian cinema and provided
opportunities for filmmakers to showcase their work to a broader audience and industry
professionals.

6. Cross-cultural Influences: Globalization has facilitated the exchange of ideas, cultural

influences, and creative techniques between Indian cinema and other film industries
worldwide. Indian filmmakers have been inspired by international films and have
incorporated global trends and styles into their work. Similarly, international filmmakers
have been influenced by Indian cinema, leading to cross-pollination of ideas and
storytelling approaches.

7. Film Distribution and Digital Platforms: Globalization has revolutionized film

distribution with the rise of digital platforms and streaming services. Indian films
 now have a wider reach through international online platforms, making them
accessible to audiences around the world. This has created new opportunities for
independent filmmakers and non-mainstream Indian films to find a global audience.

UNIT 3- ALTERNATIVE VISIONS

What Is Third Cinema?

Third Cinema is a concept that emerged in the late 1960s and early 1970s to address the
role of cinema in developing countries. Rather than participating in what they called the
“First World” of commercial filmmaking or the “Second World” of state-financed
propaganda, filmmakers from Africa, Latin America, and other parts of Asia argued for a
“Third World” of revolutionary artistic practice.

Third Cinema was particularly associated with filmmakers in Latin America, who used film
to both document realities of social and political injustice and participate in struggles for
liberation. Third Cinema is the cinema of liberation, the cinema of the people, the cinema
that is not made for sale and commercial distribution but for social change.

In their 1969 manifesto about Third Cinema, Argentine filmmakers Fernando Solañas and
Octavio Getino cite two previous cinemas: The first is Hollywood cinema, which they
describe as “the bourgeoisie’s main tool for maintaining its power at all levels.”

The second is European art cinema. Whereas Hollywood cinema was geared toward profit
and entertainment, European art cinema aspired to be a space for “aesthetic experimentation
and critical judgement.”
But these filmmakers understood that both of these cinematic modes were complicit in
systems of oppression. Thus, Third Cinema seeks to be an alternative to these dominant
cinemas by creating a space that is oppositional, revolutionary, and political.

As Solañas and Getino write: “Third Cinema is born out of concrete historical conditions in
the Third World; it cannot be understood without a knowledge of those conditions. Its
purpose is to intervene in the struggle against imperialism on the side of the people.

It neither desires nor can it afford an aesthetic alibi or refuge in some pure realm untouched
by history.”

What are the goals of Third Cinema? What does it address?

While the content and message of Third Cinema films vary depending on the filmmaker,
the country of origin, the resources available, and the political and social climate, these
films are part of the Third Cinema project because they address certain topics and adhere to
particular guiding principles. Third Cinema films generally engage the following issues and
address the following questions:

Above all, Third Cinema questions structures of power, particularly colonialism and its
legacies. Third Cinema aims for liberation of the oppressed, whether this oppression is
based on gender, class, race, religion, or ethnicity. Third Cinema engages questions of
identity and community within nations and diaspora populations who have left their home
countries because of exile, persecution, or economic migration.

Third Cinema opens a dialogue with history to challenge previously held conceptions of the
past, to demonstrate their legacies on the present, and to reveal the “hidden” struggles of
women, impoverished classes, indigenous groups, and minorities. Third Cinema challenges
viewers to reflect on by the experience of poverty and subordination by showing how it is
lived, not how it is imagined.
Third Cinema facilitates interaction among intellectuals and the masses by using film for
education and dialogue. Third Cinema strives to recover and rearticulate the nation, using
politics of inclusion and the ideas of the people to imagine new models and new
possibilities.

NON-FICTION CINEMA
Non-fiction cinema, also known as documentary cinema, is a genre of filmmaking that aims
to present real events, people, and issues in a factual and informative manner. It provides a
creative and often subjective interpretation of reality while adhering to the principles of
accuracy, truthfulness, and ethical representation. Non-fiction cinema encompasses a wide
range of styles, techniques, and subjects, offering a diverse array of documentaries.

Characteristics of Non-Fiction Cinema:

1. Factual Presentation: Non-fiction cinema aims to represent real-life subjects and

events without fictional elements. It relies on factual research, interviews, archival
footage, and observational methods to convey information and create a
comprehensive understanding of the subject matter.

2. Documenting Reality: Non-fiction films document various aspects of reality, such as

social, political, environmental, historical, cultural, and personal subjects. They
explore real-life stories, issues, and experiences, providing insights into different
aspects of human life and society.

3. Subjectivity and Perspective: While non-fiction cinema strives for objectivity and
truthfulness, it acknowledges the subjective nature of filmmaking. Filmmakers bring
their own perspectives, biases, and creative approaches to the material, shaping the
narrative and influencing the audience's interpretation.
 4. Storytelling and Narrative Structure: Non-fiction films employ various storytelling
techniques to engage the audience and convey information effectively. They may
follow traditional narrative structures, adopt a more experimental approach, or utilize
non-linear storytelling methods to present multiple perspectives or reveal the
complexity of the subject.

5. Cinematic Language and Visual Style: Non-fiction cinema utilizes the same
cinematic techniques as fictional films to convey meaning and create an emotional
impact. These include camera work, editing, sound design, music, visual effects, and
cinematography. Visual aesthetics and stylistic choices contribute to the artistic and
evocative nature of non-fiction filmmaking.

FEMINIST FILM THEORY

Feminist film theory is a branch of film theory that examines the representation of women,
gender dynamics, and feminist perspectives in cinema. It emerged in the 1970s as part of
the larger feminist movement and has since provided critical frameworks for analyzing the
way films portray women, sexuality, power structures, and social issues. Here are some key
concepts and approaches within feminist film theory:

1. Male Gaze: Coined by feminist film theorist Laura Mulvey, the concept of the male gaze
refers to the way films often present women as objects of the heterosexual male viewer's
desire. It highlights the tendency to objectify women and reinforce gender power
imbalances in cinema.

2. Representation and Stereotypes: Feminist film theory scrutinizes how women are
represented in films, critiquing stereotypes, and limited roles often assigned to female
characters. It questions the portrayal of women as passive, dependent, sexualized, or solely
defined by their relationships with men.

3. Intersectionality: Feminist film theory acknowledges the intersection of gender with other
identities such as race, class, sexuality, and ethnicity. It emphasizes the importance of
examining how multiple forms of oppression and privilege shape women's experiences in
film and society.

4. Counter-Cinema: Feminist film theorists advocate for alternative filmmaking practices

that challenge mainstream conventions and patriarchal norms. Counter-cinema seeks to
subvert dominant narratives, offer diverse perspectives, and provide a platform for
marginalized voices.

5. Female Filmmakers: Feminist film theory highlights the works and contributions of
women filmmakers, acknowledging their unique perspectives and experiences. It examines
how female directors, writers, and producers have shaped the cinematic landscape and
expanded representations of women on screen.

6. Queer Theory: Feminist film theory often intersects with queer theory, exploring
representations of LGBTQ+ characters, sexuality, and gender identities in cinema. It
questions heteronormative narratives and seeks to challenge oppressive norms related to
sexual orientation and gender expression.
7. Spectatorship and Reception: Feminist film theory examines the role of the spectator in
interpreting and engaging with films. It analyzes how gendered expectations and cultural
context influence the audience's perception, understanding, and reception of cinematic
representations.

Feminist film theory has been instrumental in raising awareness about gender inequalities in
cinema, fostering critical discussions, and inspiring the creation of more inclusive and
diverse films. It has influenced film criticism, filmmaking practices, and the development of
gender studies within the field of cinema. By questioning and challenging traditional gender
norms and representations, feminist film theory aims to contribute to a more equitable and
empowering cinematic landscape.

Feminist Film makers

In the genre of Filmmaking, there are notable women around the globe who are working
behind the camera who are excellent in the field of history-making film industry.

1. Kathryn Ann Bigelow, the remarkable female director of the 2008 Movie “The Hurt
Locker”
2. Sofia Coppola, of “Lost In Translation, having in her blood the legacy of her father,
Francis Ford Coppola, her distinct filming approach concentrates on the affluent and
the juvenile and the wealthy characters and individuals that she hones in her hands
3. Catherine Hardwicke, the female director of the first movie of the worldwide
successful Twilight series, who has drawn so much awe and high esteem from the
public for her work on the teen vampire-inspired movie. She is the reason for the
phenomenal career rise of the then unknown British young actor, Robert Pattinson
 she first casted to portray as her Vampire Edward Cullen. Catherine Hardwicke is
notoriously noted for her Indie teen motion pictures. Other than Twilight, she has
also shined in her “Thirteen” as well as in her “Red Riding Hood”
4. Haifaa Al Mansour, the very first Saudi Arabian filmmaker who made a mark with
her exceptional craft, such as her Venice Awarded “Wadjda”
5. Phyllida Lloyd, the sensational female director of the films “Mama Mia”, and the
biographical movie about Margaret Thatcher entitled as “The Iron Lady” portrayed
by the Award-winning actress, Meryl Streep

The influences of feminism in the world of filmmaking, shows the unparalleled power and
flexibility and talents and skills and broad expanse of the female gender in the industry.
However, there are film critics that debates the women’s functionality, the purposes of their
presence and activities, and how the cinema or TV-viewing public regard the roles of
women’s personifications may it be in a drama, a comedy, a sitcom, most of all in a big
screen cinema.

AEUTUR – Film Authorship with a special focus on Satyajit Ray

and Hitchcock
An auteur is someone who oversees everything. From audio and visual elements of the
motion picture to the directing job as a whole. An auteur is more to be considered the
“author” of the movie. In other words, every element like blocking, scene length, lighting,
and camera placement would be done by the director and by no one else.

The idea was that a film is most valuable when it is the product of the director, and his
personal style. Thus in film authorship, the influences of the director can be seen through all
of his works, often at times exhibiting aspects of their personal life portrayed through out
each film. Ideally, one could watch a film without previously knowing who directed it and
then be able to identify who was responsible for its creation. Simply put, the auteur theory
acts to describe the mark of a film director on his films and a style that he distinctly owns.
Much like one can look at a painting and tell if it is a Picasso, if a film director is an auteur,
one can look at his film and tell by its style and recurring themes that a certain director
made it.

According to the authorship theory, it does not matter whether or not the director writes his
own films, the cinematographer, actors, and others involved in its creation are of secondary
if any consideration. The film is said to reflect the vision and the mind of the director
through the choices he makes in his film, including his casting of crew and actors.
Naturally, a great deal of criticism surrounds such a suggestion. As Philip Halsall (2002)
points out “film is clearly a collaborative process, even in the smallest of productions, and
to elevate the status of the director is to belittle the contributions of other creative personnel
such as the cinematographer, the editor, the sound man, and the actors”.

Satyajit ray
Satyajit Ray (1921–1992) directed thirty-seven films, including feature films,
documentaries, and shorts. He was also a fiction writer, publisher, illustrator, graphic
designer, and film critic. His other writings on cinema include the best-sellers Our Films
Their Films and Speaking of Films. Ray received many major awards for his work,
including thirty-two Indian National Film Awards and a Bharat Ratna from the Government
of India, and he is the only Indian to have received an Oscar for Lifetime Achievement.

Satyajit Ray, one of the greatest auteurs of twentieth century cinema, was a Bengali motion-
picture director, writer, and illustrator who set a new standard for Indian cinema with his
Apu Trilogy: Pather Panchali (Song of the Little Road) (1955), Aparajito (The
Unvanquished) (1956), and Apur Sansar (The World of Apu) (1959). His work was
admired for its humanism, versatility, attention to detail, and skilled use of music. He was
also widely praised for his critical and intellectual writings, which mirror his filmmaking in
their precision and wide-ranging grasp of history, culture, and aesthetics.

Ray made his first full feature film in 1955 at age 34. Pather Panchali or “Song of the Little
Road” was the first movie of what went on to become the renowned Apu Trilogy.

Pather Panchali was filmed on location in the West Bengal village of Boral. The movie
lacked a script and was made solely from Ray’s drawings and notes. With the exception of
the cameraman and the art director, all the actors were inexperienced amateurs. In fact,
Subir Banerjee, who played Apu, was spotted by Ray’s wife in their local Kolkata
neighborhood.

The second movie was Aparajito or “The Unvanquished,” and the third was Apur Sansar or
“The World of Apu.” While Pather Panchali revolves around Apu’s life in rural Bengal,
portraying a family’s struggles to make ends meet through the eyes of a child; Aparajito
depicts Apu’s new life in the urban metropolis of Varanasi and its impact on his
relationship with his mother. The trilogy’s final film Apur Sansar begins with Apu, now a
college graduate, striving to earn a living as a writer.

Together, the Trilogy provided a microcosm of the changes affecting Indian society
following India’s independence from England as well as the simultaneous partition of India
and Pakistan—a period of traumatic change and endemic poverty. The sweep of India’s
birth is presented through the eyes of a child who is also maturing as India grows.

Ray was an auteur in the most precise sense of that versatile word. Apart from directing, he
wrote most of the screenplays of his movies – some adapted from existing literary works,
others from his own stories. He also composed music, drew detailed, artistic storyboards for
sequences, designed costumes and promotional posters, and frequently wielded the camera.
Above all, he brought his gently intelligent sensibility and a deep-rooted interest in people
to nearly everything he did. He was, to take recourse to a cliché with much truth in it, a
culmination of what has become known as the Bengali intellectual Renaissance.

Alfred Hitchcock
Alfred Hitchcock is one of the most well-known names in the world of cinema. His style
has established him among an elite class of directors known as auteurs. An auteur is a
director who is the “author” of his or her film. His or her style is so distinctive that it can be
recognized through most of his or her filmography.

Hitchcock is an auteur. He often collaborated with the same people when make many of his
films. This provided a consistency that is missing from many other filmmakers’ careers. For
example, he often collaborated with Bernard Hermann, a brilliant composer, who helped
create the scores to Psycho, North by Northwest, and Vertigo. In collaborating with the
same people, he is creating a consistency within his filmography that is necessary for
auteurism.

Alfred Hitchcock is one of the most innovative and celebrated directors in the history of
cinema. His style can be recognized immediately when watching one of his films. This
exhibit celebrates him as a deserving member of the elite auteur class of directors. by
showcasing three of Hitchcock’s most famous films and analyzing five major aspects of
Hitchcock’s style that make him a successful director: aesthetics, recurring themes and
motifs, story composition, audience role, and portrayal of gender roles.

Hitchcock: The Man

Before examining Hitchcock’s films, it is important to examine his life. Hitchcock’s films
are all very psychological in nature, exploring the deepest psyches of the characters’ as well
as the audiences’ minds. It is only natural that much of Hitchcock’s filmmaking was
influenced by his own personal life.

Alfred Hitchcock was born in 1899 in England to very strict Roman Catholic parents. His
parents believed in strict discipline, for example, Hitchcock’s mother would force him to
stand at the foot of her bed as a form of punishment. He alluded to this in his film Psycho.

When he was a young man, he attended St. Ignatius College where he studied engineering,
but he had a talent for drawing and designing; so in 1920, he joined the film industry as a
set designer. He first joined British cinema before making the move to Hollywood with
Rebecca in 1940.

Hitchcock: The Filmmaker

Hitchcock is often noted for utilizing beautiful young blonde women as his leading ladies.
Some critics have often associated this choice as a Freudian response to his own mother.
Hitchcock’s psychological connection with his films, whether conscious or unconscious,
allows the audience to psychologically connect with the film, thus permitting Hitchcock to
manipulate their emotions and responses to them. This is a staple within Hitchcock’s work.

Hitchcock was more than a visionary for his time. His filmic and directorial styles are
iconic and vital in the progression of modern cinema. He has a catalogue of more than fifty
feature length films spread over a sixty-four year career. While his statistics are impressive,
Hitchcock is more known for his ability to capture mood and emotion in a visually and
seemingly tangible form. He was a forerunner in his use of camera angles and motion to
reveal a voyeuristic experience. These techniques as well as others allowed him to draw in
audiences to feel and encounter his films. Alfred Hitchcock pushed limits and experimented
whenever possible. It is part of what makes his films so distinctive and influential.
Hitchcock: The Legacy

Hitchcock’s cinematic legacy has become somewhat of a given throughout history. His
contributions to film through his innovative shots, his ability to create suspense, and his
narrative focus cannot be overlooked.

The saying: “Imitation is the sincerest form of flattery” has never held more weight than
with Alfred Hitchcock. His work has been used in homage as well as parody for many
years. For example, in the Friends episode, “The One with All the Thanksgiving
Flashbacks”, one of Hitchcock’s most famous scenes is parodied.

Hitchcock’s contribution to modern cinema should not go unnoticed. His ability to create
stories that are both thrilling and psychologically revealing is unparalleled to any other
director of his time. His style as a director has been mimicked throughout cinematic history,
but no one can match the volume of influence that has come from Hitchcock.

Example (Rear Window)

Alfred Hitchcock’s 1954 ‘Rear Window’ is a film full of symbolism, narratives, voyeurism
and characterisation. It shows Hitchcocks as a strong auteur by creating it in a way in which
he uses similar themes and motifs previously recognised. He also uses specific signature
motifs, such as; character parallels and heavy use of vertical lines, as well as a strong
protagonist. It is a film which focuses around the main protagonist Jefferies, who is a
photographer who recently broke his leg and is restricted to a wheelchair. In the opening
scene where the credits are shown, a lot is given away with regards to the forthcoming
storyline and Hitchcock has created an opportunity to set the tone of the film. He also
creates a great ambience, as a bamboo curtain is raised and the courtyard is shown, which is
what the whole film revolves around.
Jeff spends his days and nights watching his neighbours through a pair of binoculars. The
audience are shown life through Jefferies eyes within the six weeks in which he is
restrained to just a chair. The window looks out onto a courtyard and displays a number of
different windows which are representative of different ways of living in America in the
1950s. Throughout this film the audience are shown many different characters and each
window represents a different style of living and snippets of these characters lives as
Jefferies sees them. There are three main protagonists in the film, the first, previously
mentioned Jefferies, the second being Jefferies girlfriend (Lisa) and the third being Jefferies
nurse (Stella). Throughout the film the relationships between these main protagonists
change due to the change of happenings which unfold in front of Jefferies when he believes
one of the neighbours of which he has been following commits the serious murder of his
wife. Lisa is represented as the “perfect woman” as she is elegant, beautiful and a
successful business woman, in this film whenever she is shown, she is always represented
perfectly and lighting is used to continuously make her glow. She is always extremely
stylish and graceful.

When analysing the visual structure of “Rear Window”, there is a parallel structure in
which everyone is going about their daily lives. The audience are even shown people
shaving, waking up in the morning and answering the phone. (The type of behaviour seen
as normal everyday activities) This represents the fact that each of these windows show a
sneak preview of what life was like as an American, living in this part of America in the
1950s, each character represents a different background. But these characters, although
living so close to each other, barely interact or ever meet. Some of these characters include;
a happy newlywed couple, a lonely dancer, a songwriter and Thorwald (the murderer). All
these different people through the windows and their stories flow together seamlessly and
music is used to proceed each scene, leading us to show what will happen next.

The camera man uses shots of panning and zooming to make it ever more realistic and
makes it seem like the audience are viewing this through Jeff’s eyes. There is a good use of
levels throughout which show the audience that a lot goes on behind closed doors which no
one knows about, this is truly represented when the musician has the social gathering which
is full of well off people enjoy themselves at a party and below there is the troubled wife,
hidden behind the blinds.

In conclusion, Alfred Hitchcock’s ‘Rear Window’, is a representation of life in the 1950s. It

has been created in a way in which the cinema goer or the audience is the spectator and we
see the film through the eyes of the main protagonist Jeff, who is the spectator in the film.
We are shown a stereotypical example of Alfred Hitchcock as an Auteur as recurring, well
known themes are shown throughout such as parallel structure, strong protagonists and a
linier structure. The sound in this film helps the audience to interact with the film as it
draws them in and gives them clues of where the next piece of action is going to happen.
All the characters play a large part in the representation of the 1950s and the stereotypes
which went along with that specific era.