1. Masters of European Formalist Cinema: Art Films from Buñuel to Bergman

2. ・ Luis Buñuel (1900-1983 Spanish/Mexican) ・ Robert Bresson (1901-1999 France) ・ Jacques Tati (1908-1982 France) ・ Ingmar Bergman (1918-2007 Sweden) ・ Federico Fellini (1920-1993 Italy)

3. European Art Cinema European film less commercial and more personal reflecting personal concerns to the almost obsessive level. Being personal (less commercial) means more unconventional filmmaking. European film as art film. Bold formal experiment and artistic formal attempt. Innovations in narrative and visual styles. Distinguished personal styles. Auteurs

4. Luis Buñuel Luis Buñuel - friend of Salvatore Dali and Federico Garcia Lorca Founded film club in Madrid and wrote film reviews Entered film producing circles in Paris and made his first film Un Chien Andalou in 1928 Film of instinct, Freudian and Surrealistic

5. Luis Buñuel L’Âge d’or (The Golden Age, 1930) radically anti- bourgeois and anti-clerical film backed by Freudian psychoanalytic theory. The cross-cutting of the scenes in which bourgeois audiences are attending a concert and a couple making love. Freudian revelation of bourgeois hypocrisy. Concert Concert

6. Luis Buñuel’s Surrealism Left Spain after fighting in the Spanish Civil War. Found difficult to get work in US, he settled in Mexico. Returning to Europe after the war, he made a series of films attacking the hypocrisy of the bourgeoisie and the church. The Discreet Charm of Bourgeoisie (1972)The Discreet Charm of Bourgeoisie

7. Luis Buñuel’s Surrealism Written by Luis Buñuel and Jean-Claude Carrière, and directed by Buñuel, the film is a satire about a group of bourgeois friends trying to have dinners together. Surrealistic images; Surrealistic incidents (episodes) Story within story; dream within dream

8. Luis Buñuel’s Surrealism Dream (surrealistic) elements - satire of bourgeois manners, concerns, pretensions, preoccupations and hypocrisy. One lunch is postponed as the host and hostess have a sex outdoors - not because they cannot control their urge but because by suppressing it they admit they have it.

9. Luis Buñuel’s Surrealism In one failed dinner party, the group of middle class diners are seen on stage but one of them, Henri, is unable to memorize his lines. (Freudian psychoanalytic) Fear of humiliation in front of the public.

10. Luis Buñuel’s Surrealism In one dream, the South American ambassador of a fictional country shoots his host for insulting his country. He does so, not because the insult is untrue, but you do not say such things in public. Bourgeois pretension and keeping-up appearances Absurdity of pride, public manners, and etiquette

11. Magic of Ingmar Bergman Bergman’s films are noted for the bleak depiction of human vulnerability, loneliness and torment. Several stages of Bergman’s directorial career. Psychological tension, religious anguish, sexual guilt, and other spiritual torment are presented through oneiric and magical images.

12. Ingmar Bergman Wild Strawberries (1957) - meditation of old age and the regret and guilt of adolescenceWild Strawberries

13. Ingmar Bergman Through a Glass Darkly (1961) is about the lack or loss of religious faith. (Corinthians 13.12) Theatrical - Chamber film inspired by chamber plays of August Stringberg with a small cast and in a small place. Departure Departure

14. Ingmar Bergman The film takes place in a single 24-hour period, features only four characters and takes place entirely on an island. Little dramatic action and mainly words. Shot in low-key lighting and in long take.

15. Ingmar Bergman Winter Light (1963) and Silence Both deal with the boundary between sanity and madness, and human contact and estrangement.

16. Ingmar Bergman The Winter Light follows the existential crisis of Thomas Ericsson, pastor of a small Swedish church. The crisis involves in a love affair and losing his faith. Six minutes long take shows Märta speaking to the camera the contents of the letter that she read.

17. Ingmar Bergman Silence is about two sisters – the sensuous younger sister and intellectual elder sister - and their tense relationship. Whether they are liberal or repressive, they are deeply lonely and estranged almost at the point of losing sanity.

18. Ingmar Bergman Study of narcissistic but confused and alienated characters Persona (1966)Persona

19. Federico Fellini Fellini - the most original film director with the most distinctive film style. Helped inaugurate Neorealismo as a screenwriter but developed his own distinctive cinema style a director.

20. Dreams in Federico Fellini Recurring motifs and themes Circus, festivals, music halls, parades, marches Clowns, angelic figures, holy fools

21. Dreams in Federico Fellini Whores, nurturing mother figures, large women

22. Dreams in Federico Fellini Childhood and young adulthood memories and recollections

23. Dreams in Federico Fellini Mesmerizing images since his childhood

24. Dreams in Federico Fellini Empty seashores, desolate roads, deserted town squares at night

25. Dreams in Federico Fellini Characters at their most bizarre

26. Dreams in Federico Fellini Hallucinatory or dreamlike imagery Jungian realization that ‘extra-sensory’ perceptions are the psychic manifestation of the unconscious Oneiric

27. 8 1/2 8 1/2 (1963)

28. Images and Imagination of Fellini Dolce Vita (1960) a work which marks the beginning of Fellini’s later film style. A journalist’s search for love and happiness in a new period of sexual liberation. Strong images derive from free imagination

29. Images and Imagination of Fellini Bold compositions created by low-key lighting Expressively erotic images which were not allowed in conventional film making. Physical and sensuous: appeals to libidul sensitivity of the audience