An analysis of the american cinema of the 1950s which returned to feel good films

American Film from the s: Posted on by Alexandra Kapelos-Peters Today, American film is among the most internationally supported commodities.

An analysis of the american cinema of the 1950s which returned to feel good films

About Me Peter Weir: Australian Auteur Over a varied film-making career, Peter Weir has been seen as an auteur, an Australian film-maker and, a successful Hollywood director. In terms of thinking and writing, it has always been easier to discuss such categories separately.

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The result has been that, at worst, Weir has been constituted only partially and, at best, portrayed as fragmented to an extreme. Contextual issues, whether industrial, cultural, technical or political, have generally been set aside.

Such elements snake in and out of narrow, and seemingly distinct, categories to disturb and blur neat classifications. Weir work and career both foreground an interconnectedness between the auteur, national cinema and Hollywood genre.

An analysis of the american cinema of the 1950s which returned to feel good films

Early Australian Cinema Although Australian cinema can claim a long history, it has endured more troughs than peaks. Initially, Australian film-makers responded quickly to overseas development in film-making and for the first twenty years of the twentieth century established successful local initiatives.

Barbarians At The Gate

The history of Australian film-making has always been strongly influenced by its isolated geographical location. After a promising start, however, the potential of an Australian indigenous film industry was quickly eclipsed by British, and more especially, American competition.

Australia became a home for British and American imports and, some time later, a cheap location for the filming of foreign productions. Apart from Charles Chauvell and Ken G. Hallit would be true to say that during the s when Weir was growing up in a middle class neighborhood in Sydney, he was exposed primarily to Hollywood film culture and, from late s, American television culture.

The context of Weir's work in Australia was, thus, one of huge cultural anxiety bordering on a sense of national inferiority. When Weir first started his career in the late s and early s, Australia was to all extents and purposes isolated from all but an impression of the rest of the world.

Weir's Youthful Energy After dropping out of university, Weir joined the procession of other young Australians who traveled to Europe in search of more than just an impression of culture. In the late s and early s, however, Australia witnessed something of a break with its traditional conservative identity.

Weir returned from Europe influenced by many of the new s' ways of thinking and as a strong opponent of the Vietnam war in which Australia had taken a combat role. As Weir has stated, the effect of the growing Australian anti-war movement unleashed energy and conflict, passion.

That youthful energy shaped by s sensibilities, European travel was able to harness new possibilities for film-making provided by a government that suddenly valued and Australian national cinema as an important element of a modern national identity.

Financial Support Funding opportunities were made available from government sources in a cultural climate that broke with previous ideas of Australian culture's lack of legitimacy. A sea of change was carried through by an increasingly powerful nationalist mythology that came to see film as the most desirable medium for projecting and image of the new confidence and maturity seen to mark contemporary Australian culture and society.

Traditions of European Art Cinema and Australianness A period peace based on a literary adaptation of Joan Lindsay's novel, 'Picnic at Hanging Rock' reputation rested on its credentials as a quality film. Weir's vision, however, left the narrative deliberately open, immediately associating its style with traditions of European art cinema.

With cameraman Russell Boyd and John Seale, Weir transformed the harsh Australian light of its Victoria location into a memorable dream-like setting. In this film, Australia was caught in the amber of its history, its present credentials implied by the style and sensibility of its representation of the past, and in this, his fourth film, Weir became a figurehead in a filmic and cultural search for identity.

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Retrospectively, his individual role has possibly been over-emphasized, but he was undoubtedly a key figure. His type of questioning, as opposed to straight narrative cinema, had a distinctive resonance with a special moment of film-making and it is perhaps here where some sense of 'Australianness' adds a further layer for consideration.

Until Weir and other Australian directors of his generation, such as Bruce BeresfordPhillip Noyce and Fred Schepisiwon their colors, the lack of experience in Australia meant that it was like starting from scratch to find technical and artistic solutions to film-making.

The ambition of 'Last Wave'made instill screams out its extraordinary class with its beautiful complexity of narrative and imagery and, perhaps more startling still, the compelling performance of Richard Chamberlain.

More than any other of Weir's films, The Last Wave shudders to a halt leaving the viewer with not just an open-ended resolution but practically none at all. The audience falls victim to a relentless rhythm that allows no release. Thus Weir marks out his cinematic territory as one of atmosphere rather than either characters or resolutions.

Gallipoli explores key tropes of 'Australianness' more explicitly than his last two features. Two elements are central to this explicit exploration of Australianness: Weir regards 'Gallipoli' as one of his favorite but least personal films.

A Move To Hollywood and Hybrid Themes Witness is perhaps Weir's most explicit engagement with the genre film to date, but it is one that remains characteristically hybrid.

The film reworks the thematic preoccupations of the detective thriller and the Western. Witness made Weir's importance as a film-maker, who exploits the complexity and instability of the perceived gap between Hollywood, European and the newer Australian traditions of film-making in order to make consistently interesting films.

Since Witness, all of Weir's films have been made in Hollywood.Wolfgang Amadeus Mozart inspired not only musicians to the present day but also composers of his own period. the shots of An analysis of the american cinema of the s which returned to feel good films unstained Silvanus and tetraetyl ritualistically dominate their ad of absorption.

Most Influential, Significant and Important Films in American Cinema. The s. However, having not seen many of the s films, I don't have too clear a picture of what it was generally like for Hollywood cinema as a whole.

So, were the s really a good decade for Hollywood cinema? University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School The Return of the s Nuclear Family in Films of.

But it was two new films in particular, Bonnie and Clyde and The Graduate, that, with hindsight, make such a significant year in American cinema. Rebellious in spirit and creatively adventurous, their unexpected box office success and wider cultural impact made them the progenitors of the New Hollywood revolution.

We've seen the outrageous, the good, the bad and the ugly, the weirdly dramatic, and the just plain weird of the last seven decades of cult films and how in the end somehow find away to incorporate a piece of American culture at the time.

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