Czech New Films PDF

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The defining characteristics in the film history of Czech New Films, the key filmmakers, and personal thoughts of "Daisies"....

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Blake Huang Professor Mehrnaz World Cinema 2 Mar/12/2021 Brief Writing #6 According to Bordwell and Thompson, we can say there were New Wave everywhere in the Europe in that era, and different country developed the New Wave into more different styles and genre. During the late 1950s, Eastern Europe’s economy strengthened, and countries sought to enter Western markets. Films proved to be valuable export items. In addition, economic reforms led many governments to increase artistic freedom. Each New Wave typically participated in a broader cultural renaissance including literature, drama, painting, and music. And in this brief writing, I’m going to focus on Czechoslovak

New Wave. First, Czechoslovak New Wave adopted variants of film-unit system, and because of the rebuild of the economic that mentioned above, the filmmakers in these countries were freer to try fresh subjects, themes, forms, and styles than were their Soviet counterparts. That is one of the reasons why we can find

there were a lot of different new genres and even unusual styles in Czech New Films. However, for the most part filmmakers shared only conditions of work, thematic concerns and urge to move beyond Socialist Realist formulas.

Second, there are many key filmmakers and their significant works that can be milestones in Czech New Film era. Jaromil Jireš’s The Cry, often considered the first manifestation of the Czech New Wave, used nonactors and Direct Cinema technique to explore the life of a couple expecting a baby; Ewald Schorm’s Courage for Every Day and Return of the Prodigal Son owed more to Antonioni in their probing of the problems of the middle-class professional; Jiří Menzel, who found international success with Closely Watched Trains and

Capricious Summer, took to an extreme the shifting of tone that Neorealism made a major principle of postwar cinema. Moreover, the single Czech feature made by Ivan Passer presents a gentler blend of comedy and social criticism. A sketch of the reunion of two musicians, Intimate Lighting contrasts city and country manners, amateur and professional music making, and traditional and modern conceptions of women’s roles. The fragmentary incidents have a muted pathos and humor; Miloš Forman was also influenced by Neorealism and Direct Cinema, but his films present more caustic social criticism. Forman fills his film with incisive running gags and revelations of human vanities.

Besides impulses toward satiric realism, there were efforts to find a more formally complex approach on the model of Resnais, Fellini, or Robbe- Grillet. Jan Neme´ c’s first feature, Diamonds of the Night. These are only the prelude to a symbolic critique of a Stalinist police state. The New Wave pushed toward even purer fantasy. Jan Schmidt’s End of August in the Hotel Ozone Neme´ c’s third feature, Martyrs of Love. Neme´ c summed up the attitude of many Czech filmmakers: “The director must create his own world, a world independent of reality.” Vera Chytilová is presented as a more conventional fiction, setting up an interplay between two trends in the Czech New Wave itself.

Finally, from the movie Daisies, the characters were been descripted very well. Each of the main characters have a very bright characteristic, and I observed that besides the main characters, other are more like the passengers in their life and in this movie, there are some discriminations about them but the director will make sure the audience are focus on the main two characters. The unusual visual also help attracting the audience’s attention. The experimental genre mixed up with narrative plot, makes the whole film more memorable and unforgettable....