The history of the cinema and the topic of the movies in general

Film as an art form has drawn on several earlier traditions in the fields such as oral storytellingliteraturetheatre and visual arts.

The history of the cinema and the topic of the movies in general

These films have some elements that puzzled us and that we never really understand. Much of the time, filmmakers craft these film in order to create this sensation of mystery that cannot really be deciphered. There are many ways to make a film hard to understand, and the most obvious and most used is to break some narrative conventions the most films follow.

Since these conventions are used to communicate clearly with the audience, when the conventions are broke or subverted it then becomes confusing. Some films do this by not giving a clear plot, or not giving it in a linear way.

Other films are more subtle and instead of not giving a plot, they do not show us the perspective of a character and why he or she is doing things, and thus we cannot understand them.

Other films are hard to understand because of the complex symbols they use. This is not about complex and inextricable allegories though it can be the case of some filmit is about details and references that give the film a whole new level of interpretation.

And here is a major subject in this topic, levels of interpretation or layers of meaning. Most of the films on this list are not hard to understand in the sense of what is happening on the screen. What puzzles us is why we are seeing it and what relationship it holds to the rest of the film and to us.

These relationships will always be ambiguous and that is what makes these films so great to discuss.

The history of the cinema and the topic of the movies in general

We can always make arguments and show evidence of some way to interpret the film, but in the end, as the filmmakers intended, in these films there is not only one way to look at them. This is why these films haunt us and we constantly come back to them, because as we change, our way of seeing changes and thus the film changes.

Persona When presenting the film script, Ingmar Bergman said that rather than a script, this was a music sheet that will help him and his collaborator make the film. This film, which needed such an unusual script, indeed turned out to be an extremely unusual film made by one of the greatest filmmakers in history.

The film is about a woman who has refused to speak and a nurse in charge of taking care of her. The relationship between these two characters is the subject of the film, or maybe leit motiv would be more precise. Since one of them refuses to speak, the interactions are created only with the dialogue of one and the silences of the other.

The silence starts to become meaningful and the identity of the nurse her persona starts being challenged. This process is crafted in powerful montages that sacrifices clarity for emotion.

Blow Up Michelangelo Antonioni was a subversive Italian director in all of his films. He made films in which the plot was interrupted at the halfway point of the film and replaced by a whole new character arc.

In the film we see a photographer who thinks he has been the witness of a murder, and tries to unravel the mystery of it while he continues with his ordinary life. The film makes the lead character an enigma in itself that one has to figure on his own through the fragments that are shown, just as the character himself is trying to figure out a mystery with the fragments he has captured.

Post Tenebras Lux The film that gave Mexican director Carlos Reygadas the award at Cannes for best director is an ambivalent topic among film enthusiasts.

Some regard it as an attempt to be complicated without fundamentals, and others Reygadas himself argue that the film is not complicated at all but that its language is different than what we are used to seeing.

Indeed, the film is told in a language different to the cause-effect thread that holds together most feature films. There is not a clear way to relate the events of the film since they are not related by cause and effect, but by thematic threads. Thus in order to understand if the word can still be used the film, one has to change their way of seeing and this is definitely harder than following a cause-effect thread.

This was due to the episodic structure of the film in which a thread that hold the events together is never made clear. Tarkovsky acknowledged that the film is highly autobiographical, but this does not necessarily make it clearer since the real mystery is why we are seeing what we are seeing, and what relationship does it hold with the rest to the film.

The film is complex both in its general structure and in each individual scene. There are fragments in which music, poetry and complex long takes are juxtaposed. With so many elements acting on the screen it is hard to grasp everything that Tarkovsky is trying to say.

The way in which Tarkovsky wants his films to be seen is not the one in which a static meaning is extracted, but the one in which an ineffable truth is conveyed, and this perspective may be one of the most difficult things to achieve as a film viewer.

In the minutes of his first feature film, Rivette created one of the most puzzling films in film history. Since the film was financed almost with favors from his friends, it was done in complete artistic freedom.

The film was a project that the directors of French New Wave wanted to be made, and it was. The film is extremely challenging as we are put into the perspective of a lead character who tries to solve a mysterious murder but fails constantly, while a thematic tread is never delivered.The mechanism of the human mind has always been the center of discussions and a topic of controversy.

From ancient Greek philosophers to Freud, mental health has been debated a lot. There are still many things we don’t know about the functions of the mind, and the general public is often. BY LEE PFEIFFER. Originally published in paperback back in to promote Roger Moore’s first appearance as , this is a most-welcome updated edition that includes a foreword by Sir Roger’s good friend and occasional co-star David Hedison as well as an afterword by his PA and sometimes co-author, Cinema Retro’s own Gareth Owen.

Black and White Cinema: A Short History - Kindle edition by Wheeler Winston Dixon. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading Black and White Cinema: A Short History.

The history of the cinema and the topic of the movies in general

The History of the Hollywood Movie Industry Hollywood: Perhaps no other place on earth evokes the same air of show-business magic and glamour. The legend of Hollywood began in the early 20th century and is an earmark of modern American society rich in history and innovation. "There's an interesting new book by Wheeler Winston Dixon called Black & White Cinema: A Short History, and it tells the history of black and white movies, its .

History of Movies - The story of the movies begins in the 's with Edward Muybridge, one of the pioneers of photography and father of the moving image.

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