What is the "jump" in J movies? Please give a detailed answer.

Brighton, England in the early 20th century. Advocate the creation of real life clips in open-air scenes. The bud of realism. Multi-viewpoint concept of time and space.

Representative works: George Albert Smith's Grandmother's Magnifier, Scenes Seen through a Telescope, Mary Jane's Disaster, James Williamson's Attack on China Church, Alf Collins's Wedding in the Car, and Cecil Hephais's Dog Savior.

2. European pioneer

At the beginning of the 20th century, pioneer and purity were emphasized, while abstract picture modeling and visual emotion rhythm were overemphasized. Oppose the commercialization of movies and advocate that movies are small and pure works of art without utility; Oppose narrative, plot and characterization, and advocate abstract graphics, aesthetic forms and empty lyricism as the whole content. Oppose rationality, like association, reject reality and like dreams.

Including: French Impressionism, Surrealism and German Expressionism.

Representative figures, Delluc, Epstein, Drucker, Mugina.

Masterpieces: Dance of the Machine by Fernando Lecheres, Rest Plan by rene claire, Andalusian Dog by luis Bunuel, Shells and Monks by Germain Dulac, and Doctor Cariga by Robert Wan.

3. Film Ophthalmology School

In the early 1920s, the Soviet Union opposed the fiction of all feature films, and wanted no professional actors or artificial scenery. Everything is the way life is, with life as the scene. Emphasize the poetry of life and use montage to deal with the rhythm and poetry of life itself.

Representative works: dziga vertov, The Story of Bread, The First Anniversary of Lenin's Death, Forward, Soviet, Three Songs about Lenin.

It promoted the emergence of "editing movies" and the birth of the montage school of Eisenstein and pudovkin. Italian neo-realism was influenced by it.

4. Soviet montage film school

Montage is the basis of movies in the 1920s. Contrast, metaphor, repetition and changing rhythm are used between shots.

Representative figures: Eisenstein's battleship potemkin and pudovkin's mother.

5. British Documentary Film School

Since 1930s, he has been pursuing the artistry of documentaries, paying attention to social life, touching reality and discovering poetry. Interested in montage composition and photography.

Representative: John Grierson, Industrial Britain, Coal Miner, Song of Ceylon, Night Mail.

6. French poetic realism

the 1930s

Features: poetic dialogue, charming visual images, thorough social analysis, complex fictional structure, colorful philosophical implications.

Defect: ignoring the audio-visual essence of film art

Masterpieces: Under the Roof of Paris by René Koehler, Million Francs, Renoir's The Great Disillusionment, Rules of the Game, Jean Vigo, Marcel Carné.

7. Italian neo-realistic films

Italy in the 1940s and 1950s.

Content: advocate reflecting social problems through ordinary life; Replace fictional stories with daily life; Do not provide answers to the audience; Oppose professional actors; Oppose the separation of editing and directing.

Form: real shot; Natural light; Long lens, deep focal length.

Limitations and shortcomings: the centralized summary of life is not enough, and a few people have no plot and no personality phenomenon; Despise writers and actors.

Representative figures: Rossini's Rome, Unprotected City, Guerrilla, De Sica's Shoe-Shoe Boy, De Sentis's Hard Rice, No Peace Under the Olive Tree, Vicondi's The Earth is Fluctuating, Jeremy's In the Name of Law and Two Cents of Hope.

8. French new wave movies

1959- 196 1 France. Strongly anti-tradition, emphasizing artistic innovation; Turn abstract philosophy into vivid pictures. The author's films often integrate screenwriter, director, self-criticism, music and even production, forming a unified production method.

"New Wave" has a strong personal color, and many movies have a strong personal biography color. While breaking through the traditional film language in art, we should avoid being too divorced from the appreciation habits of the general audience; Replace montage with long lens, replace fixed photography with mobile photography, and jump; Metaphors are rarely used.

Subject: Non-political movies. Photography method: the photography style is mainly film photography. Performance: Contrary to the traditional star system, they used a large number of unknown young people as actors. Sound processing: "New Wave" uses a lot of natural sound environment.

Zuo 'an School is its branch school.

The philosophical foundation comes from existentialism.

Representative figures: Chabrol's Cousin, Truffaut's Run amok, Godard's Tired, Love in Hiroshima and Last Year's marion Budd.

9. New German films

From the 1960s to the present.

1962 Oberhausen Declaration.

Representative figures: Kruger's Farewell to Yesterday, Sanny's Forbidden Fox Hunting, Schlondorf's Young Torsler, Tin Drum, and the disgraced Katarina. Bruce, fassbinder's Fear Swallows the Soul, effi briest, Maria Braun's Marriage, Holtzger's argyle. God's wrath, everyone for himself, God for everyone, Alice in Wenders roaming the city.

10, American youth film movement

From the mid-1960s to the early 1970s

It reflects that the younger generation and their way of life are in conflict with the old concept of life, and discussing social and political issues has a strong "anti-culture" color.

Social sources are "hippie culture", rock music and post-modern poetry.

Representatives: Bonnie and Clyde, graduates, Alice Hotel, zabriskie Canyon, clockwork orange and Nashville.

1 1, a new Hollywood movie

60' s-present (30' s-40' s is a classic Hollywood period)

Recognition of traditional laws; Understand the star system and industrialized production mode; Enrich movies with new content; Make use of and develop the expressive means of various film types.

Responder: My McDonnell Douglas-Wizard Level 5 8-29 16:54

German expressionism expressionism was originally a special term for art history and criticism, which means that nature is no longer regarded as the primary purpose of art, and lines, shapes and colors are used to express emotions and feelings. As the sole purpose of art, expressionist films originated in Germany 1920. The actors, objects and scenery design in this kind of movies are all used to convey the mood and psychological state, while ignoring the original image meaning. Dr. Calgary's cabin (19 19) was delivered immediately.

Known for this technique. Later, German expressionism influenced some Hollywood films in silent period and film noir in1940s, while others such as Hitchcock and orson welles were also influenced by expressionism.

Formalism is a means of expression in literature, art or drama, which emphasizes form and skill rather than theme. It originated in Russia 19 15. Because of the establishment of Moscow Linguistics and Poetry Language Society, it opposed the traditional way of dealing with narrative materials before the Russian revolution and attached importance to the artistic language form, which gradually influenced various artistic fields at that time. In film performance or analysis, formalism emphasizes that different application forms can change the connotation of materials, and editing, picture composition and arrangement of sound and painting elements are all the interests of formalism filmmakers, such as pudovkin and Eisenstein in the1920s. 1In the mid-1930s, Stalinism prevented the development of Russia, but it had a great influence on later structuralism and semiotics.

Impressionist 65438+ Louis Drucker was a French film creator in the 1920s. He joined a group of talented directors such as Abel Gunce and Zhemin Drucker, as well as some film directors who had successfully studied commercial films, and wanted to reform films made by film company owners for commercial reasons. To improve the decline of French films after World War I. But his efforts were not supported by the producers, and the movement failed after the death of 1924. Some people take commercial films, others take the avant-garde road. Because some of Delluc's theories and creative ideas are closely related to the later French avant-garde film movement, most impressionist films are regarded as the prelude of avant-garde films or directly classified as avant-garde films. His important works include The Wheel by Gunce (1922), Fever by Drucker (192 1) and Spanish Festival by Drucker (19 19).

French surrealist film 1920 rose mainly arranges images in a strange and illogical way to express various states of human subconscious. Luis Bunuel's Dog in Andalusia can be regarded as a classic of early surrealist movies. The rise of surrealist films aims to resist realism and traditional art. André Breton, the leader, mentioned in a declaration: "A pure automatic action of the mind, in which an attempt is made to express the real operation of thoughts by language, writing or any other means." Later, surrealism became an important source of experimental films and underground films, such as Maya Dylan and Kenneth Ange in the United States. Surrealism is not the main genre in commercial films, but only appears in the films of individual directors, such as Woody Allen.

Neo-realism is a film movement that rose in Italy after World War II. The main representatives are Rossellini, Dictya and Visconti. Most of the themes of this kind of movies are centered around the local problems in Italy before and after World War II, and they advocate calmly and realistically presenting the lives of the middle and lower classes. Formally, most of the new realistic films adopt real-life shooting and natural light, and use unprofessional actors to perform and describe the details of life. Compared with the pre-war closure and camouflage, the new realistic film is more like a realistic documentary without whitewashing. However, the neo-realistic films are more concerned abroad, but there is no special response in Italy. Since the 1960s, many social problems in China have been solved due to the economic recovery and the intentional actions of the competent authorities, so the upsurge of neo-realism has gradually subsided.

The New Wave of France, NewWave, was originally a news term without strict definition, referring to the first batch of works with fresh style and frequent awards shot by a group of new French directors between 1958- 1959. Later, it was widely used, which summarized the tendency of French new film production and creation in the late 1950s and early 1960s. Many of these new directors were film critics of Movie Notes magazine, such as Gundam, Chuff, Chablo, Hou Mai and Levitte. They advocate personal originality, show a high degree of consciousness of traditional movies, and use their works to embody the style proposition of "author theory", which is quite different from traditional movies in both theme and technique. Traditional film types and Hollywood director styles are mixed together, and new splicing and structural forms are tried. Because they emphasize the freedom of shooting, they often shoot only by the outline script, and like improvisation and spontaneous shooting. However, its theme is existentialism. For example, Aaron Reynet's Love in Hiroshima and Gundam's The Dead are all such films. From the end of 65438 to the beginning of 1960, the term "new wave" has been used to describe the emerging film production activities and film revival in other countries. Such as Czech and Hungarian new films,1Polish new films in the 1960s,1German new films in the 1970s.

The real film CIN' EMA v' erit' e 65438+ the film creation trend characterized by direct recording technique began in the late 1950s. Representative figures are Jean Husch of France and David Meso of the United States. These advocates claimed that their inspiration came from the Film Pravda written by Soviet Jigga Widoff. The big difference is that the events in real movies are more complete and single, so there are more plots of drama films. In the way of production, it is characterized by shooting real life directly, without writing scripts and using unprofessional actors in advance. The film is completed by a fixed director, photographer and sound engineer. The biggest difference between real movies in France and the United States is that France allows directors to intervene, such as Jean-Husch's Summer Notes (196 1), while real movies in the United States emphasize that directors do not intervene and do not interfere in events. This kind of film shooting technique requires the director to accurately discover the event and foresee the drama process, and the shooting action should be agile and decisive, which inevitably limits the direction of theme selection, so there are few real film works. The greatest significance of real movies lies in that they provide the greatest guarantee for the creation of general feature films. Gundam's subjective intervention in many of his films is the direct use of real movies.

The third film, the Third Cinema, refers to the films made by third world filmmakers against imperialism, colonialism, racial discrimination, exploitation and oppression. His specific proposition is the article Towards the Third Cinama written by Cuban directors Fernando E. Solanas and octavio Ghittino in 1960s and early 1970s. They call the film products made by the bourgeois society according to its closed and passive artistic view the "first film", and call the author's films, new Brazilian films, expressionist films and other works that emphasize personal experience the "second film". The "second film" is a way out for the first film, but it is already the limit of the system, while the films produced in the revolution and opposed to the system are the "third films", which can also be called liberation films and guerrilla films. The two directors stressed that the "third part" must be something that the production system can't absorb and is different from the system. The author mentioned in the article "Movies Towards the Third World": "The camera is an infinite collector of images/weapons, and the projector is a rifle that fires 24 frames per second."

Cinema Novo, a new film in Brazil, refers to the new film movement that arose in Brazil in the 1960s. Its characteristic is to create local film culture at a low cost, so as to break away from the dominant form of foreign film culture, especially in North America. Their views on national and social reality are sharp, and their aesthetic originality is very rich. It was originally a film cooperative led by rabo Ricardo Roberto Barreto da Rocha, and other important directors included Rui Guerra and Nelson Pirrera. Their films not only reflect the social reality, but also strive for bold and even eccentric aesthetic styles, such as Ricardo Roberto Barreto da Rocha's Black God and White Devil (1969). It has also achieved good results in overseas film festivals. Brazil's new films have been criticized by radical leftists for attaching too much importance to aesthetics and singing with the film industry in development. In addition, Brazilian audiences still prefer commercial films that emphasize entertainment, and their acceptance of new films is low. 1964 Brazil's military mutiny, stricter censorship, Ricardo Roberto Barreto da Rocha and other important creators went overseas to shoot films, and the new film movement declined. However, the new films in Brazil have had a great influence on the film movement in other Latin American countries.

The new German film "New German Film 1960" appeared in West Germany in the early 1960s as a movement aimed at reviving German films. /kloc-In the 1950s, with the economic recovery of West Germany, movies flourished, but the content was unrealistic and monotonous. From the end of11950 s to the beginning of11960 s, the film industry fell into a trough and even did not qualify for international film festivals. Influenced by French and British new films at that time, German new films were produced. In the 1962 "Oberhausen" West German Short Film Festival, 26 directors jointly published the Oberhausen Declaration. Most of the promoters are young directors who have only made short films, claiming to break away from traditional films, use new film language and get rid of stereotypes, business partners and certain interest groups. However, in the first three years of the manifesto movement, only one film was produced due to lack of funds. 1965, with the help of the government, the Young German Film Management Committee was established to fund young directors to make films. By 1967, more than 20 films had been made and recognized at international film festivals, so German new films became famous. However, this early German new film did not have the relaxed and free feeling of the French new wave, and the world it reflected was not hopeless, but there was no clear way out. Therefore, it was unpopular in China and was soon confined to the crisis. 1975, the new film movement has come to a climax again, because the government's funding law has been changed to benefit young directors; Television stations began to subsidize young directors to make movies; 197 1 year later, Germany established the self-help film production and distribution organization "Writers Film Publishing House" and "New German Drama Producers Work Association"; American blockbusters also noticed the new German films and began to invest. The more important reason is that there are so many talents in this period: Fassbinda, Hoso and Wenders. Their works are very distinctive in art and have won a lot of recognition internationally, but they are still unpopular at home, so the second climax falls into silence again. The new film movement was revived in 1979, which benefited from the success of mary brown's Wedding by Fassbinda and Tin Drum by Hilandoff at the domestic box office, and made German new films get rid of the situation that they won prizes internationally but could not be sold at home. After 1979, the movement became more powerful, became the mainstream of West German films, and became a symbol of a genre in people's minds.

Direct Cinema direct cinema refers to a documentary made in the style of realistic movies, which has many similarities with the production of "real movies", such as taking real people and events as raw materials, using objective documentary skills and avoiding narration. The only difference between direct cinema and the real movie is that direct cinema regards the camera as a quiet reality recorder, taking the principle of not disturbing and stimulating the subject. Real movies let the camera take the initiative to intervene in the environment, sometimes encouraging and triggering the subjects to reveal their thoughts.

Polish film poetics

postmodernism