The Classical Hollywood Cinema Twenty-Five Years Along

 is the latest pot movie to hit theaters. Here are some of the other classics of the genre.

David Bordwell, Janet Staiger, and Kristin Thompson

In order to add to the film's authenticity and to argue for its contemporary relevance, Berri shot it in northern France and worked with a considerable number of nonprofessional actors, many of whom were miners or came from a mining background.

Starring Henry Fonda as the outlaw Frank James, the film is a sequel to 1939's Jesse James.

The film included over 37,000 extras.

Thus the four-partstructure had to be studied in reverse, from modern films (where I had firstnoticed it) backward to the time when it originated. This was not only a procedurethat ran contrary to the way that we researched and wrote The Classical HollywoodCinema, but it required a great deal morespace, more than we could spare in such a large tome. In Storytelling inthe New Hollywood, I was able to show both that the classical model persistsin many, probably most, mainstream American films, and that it has been a stapleof such films going back to the very era in which classical filmmaking was formulated.

The film was nominated for an Oscar for Best Picture, but lost to Grand Hotel.

Lyons O (1980) An Iroquois Perspective. Pp. 171-174 in American Indian Environments: Ecological Issues in Native American History. Vecsey C, Venables RW (Editors). Syracuse University Press, New York (Lyons 1980, p. 174)

Dietrich was only nominated once for an Oscar in her entire career for Morocco (1930).


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Cléo from 5 to 7, which takes place in Paris within a roughly two-hour time span, is based on the very dramatic plot device of a woman awaiting the results of a biopsy for stomach cancer, with such elements as hand-held tracking shots adding to the feeling of documentary.

His most famous songs were performed by Marlene Dietrich.

Of all the revolutionary French cineastes who began making narrative films in the late 1950s, Varda has, throughout her career, remained the most solidly based in the aesthetics and politics of documentary.

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In addition, the author comments that filmmakers Laurent Cantet and Agnès Varda use the cinema to explore social suffering, but they do so from very different perspectives." [Ebsco]

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He highlights the representation of the gaze that involves the spectators in the image, disrupting their ability to remain all-perceiving and unperceived in the cinema.

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According to the author, the term new realism refers less to a shared political agenda than to a diverse group of filmmakers who have effected a re-engagement with socio-political issue.

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Her films include "The Gleaners & I," "L'Ile et Elle," and "La Pointe Courte." The author states that the short film is not as popular in France as it was during the French New Wave movement which spawned director Jean-Luc Godard.

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Varda discusses such topics as how she became interested in filming the gleaners or salvagers for her 2000 film The Gleaners and I, how she established a rapport with both the rural and urban gleaners, how she met and filmed the gleaner François, whether using a digital camera gave her more freedom, the idea of filmmaking as artistic gleaning, the experience of choosing the film clips for her film One Hundred and One Nights, the themes of memory and the documentation of aging in her recent work, whether her combination of the documentary aesthetic within a narrative film has inspired certain contemporary French filmmakers, and her current projects." [Wilson]