1. POSTWAR CINEMA ART CINEMA & THE IDEA OF AUTHORSHIP

2. PRE-HISTORY of the EAC Europe (esp Germany, France, & Denmark) early producer of films Europe (esp Germany, France, & Denmark) early producer of films –Truly competitive –Historical & economic factors forced Europe to struggle to compete with Hollywood

3. PRE-HISTORY of the EAC Major forces have been the 2 World Wars Major forces have been the 2 World Wars –The Impact of WW 1 »W Europe devastated, economy ruined, but US unharmed; Hollywood became dominant film producer »Europe created distinctive national cinemas: GERMAN EXPRESSIONISM (1919-24) GERMAN EXPRESSIONISM (1919-24) FRENCH IMPRESSIONISM (1917-30) FRENCH IMPRESSIONISM (1917-30)

4. PRE-HISTORY of the EAC After WW 2, a similar situation occurred After WW 2, a similar situation occurred –W Europe created EAC, which promotes “ auteurism ” –Films meant to be personal expressions of individual artists

5. PRE-HISTORY of the EAC ESTABLISHMENT OF THE EAC ESTABLISHMENT OF THE EAC –Stimulated in 1950s & 60s by 4 events »Establishment of film studies in universities »Rise of serious film criticism »Film festivals »Establishment of “ art theatres ” in the US

6. THE EAC’S FORM & SUBJECT MATTER Not subject to Hollywood's moral code of the 1950s Not subject to Hollywood's moral code of the 1950s –Nudity, sexual situations & language not allowed in the CHC –Advertising emphasized this aspect Like the CHC, narrative fiction films Like the CHC, narrative fiction films –Cause & effect not as closely linked –Led critics to describe EAC as more realistic than CHC

7. THE EAC’S FORM & SUBJECT MATTER Characters more complex than in CHC Characters more complex than in CHC –Rarely have clearly defined goals –Conflicts tend to be within a character, not between characters CLOSURE CLOSURE –Smaller degree of CLOSURE than those of the CHC –More like real life? Life is more ambiguous than is Hollywood cinema We tend to consider what we can’t explain as statements of the auteur We tend to consider what we can’t explain as statements of the auteur

8. THE EAC’S STYLE EAC is more subjective than CHC, with dream sequences & presentation of interior thoughts of characters not clearly marked EAC is more subjective than CHC, with dream sequences & presentation of interior thoughts of characters not clearly marked Narration of EAC often overt Narration of EAC often overt –Obvious that there is a narrator –Highlights presence of a controlling power (the director) –Highlights construction of the film (SELF- REFLEXIVE)

9. THE EAC’S STYLE We know less than the characters know, more flashforwards & techniques such as slow motion, etc. We know less than the characters know, more flashforwards & techniques such as slow motion, etc. EAC often called “ stylized film ” EAC often called “ stylized film ” SPACE & TIME are often not articulated clearly as in the CHC SPACE & TIME are often not articulated clearly as in the CHC

10. CONVENTIONS OF THE EAC GAPS created in cause & effect relationship of events GAPS created in cause & effect relationship of events CHANCE: Events often happen by chance CHANCE: Events often happen by chance BIOGRAPHY: a character drifting through life BIOGRAPHY: a character drifting through life “ SLICE-OF-LIFE ” : events that take place in a bar, cafe, etc. “ SLICE-OF-LIFE ” : events that take place in a bar, cafe, etc.

11. CONVENTIONS OF THE EAC THE BOUNDARY SITUATION THE BOUNDARY SITUATION –Character may face a crisis –Often accompanied by conventions of mise-en- scene: static postures, smiles that fade, aimless walks, etc. –Often accompanied by conventions of editing & cinematography: flashbacks, freeze-frames, slow motion, etc. AMBIGUITY: ultimate explanation for EAC films is that there is no explanation AMBIGUITY: ultimate explanation for EAC films is that there is no explanation

12. THE EAC & REALISM THE EAC & REALISM Is the EAC actually more realistic? Is the EAC actually more realistic? Or another way of presenting reality, another set of conventions? Or another way of presenting reality, another set of conventions?

13. POSTWAR CINEMA LUIS BUÑUEL AS AUTEUR

14. EARLY LIFE Born in Spain, 1900, of upper-class parents Born in Spain, 1900, of upper-class parents Educated in Catholic schools Educated in Catholic schools Attended University of Madrid, met Salvador Dali Attended University of Madrid, met Salvador Dali Studied film, joined community of avant-garde artists active in Paris Studied film, joined community of avant-garde artists active in Paris

15. FILM CAREER 1929, Buñuel & Dali made An Andalusian Dog (Un chien andalou) 1929, Buñuel & Dali made An Andalusian Dog (Un chien andalou) –Based on dreams & fantasies, designed to defy interpretation, shock middle-class audience –Popular among avant-garde community in France & worldwide

16. An Andalusian Dog (1929)

19. The Age of Gold (L'Age d'Or, 1930)

20. Land without Bread (Las Hurdes, 1932)

21. FILM CAREER Did not make another film until 1947 Did not make another film until 1947 During the Spanish Civil War, Buñuel worked in Hollywood During the Spanish Civil War, Buñuel worked in Hollywood During WW2, Buñuel worked on films for US Army until it became known that he was an atheist During WW2, Buñuel worked on films for US Army until it became known that he was an atheist 1947, went to Mexico & made commercial films; inserted more & more his own ideas & social criticism about religion, sex & middle class 1947, went to Mexico & made commercial films; inserted more & more his own ideas & social criticism about religion, sex & middle class

22. The Young and The Damned (Los olvidados, 1950)

23. FILM CAREER 1960s, returned to France 1960s, returned to France –Major international director, but never big commercial success –Films continue obsession with sex, religion & middle class –More tolerance & a sense of humor, ambiguity

24. That Obscure Object of Desire (Cet obcur objet du desir, 1977)

25. LUIS BUÑUEL (1900-1983) “Thank God I’m an atheist”