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-Anti-Soviet narratives began w/ Espionage films and Noirs of the late 1940s and 50s
-Sense of panic and feet that one side would gain leverage against the other that could tilt the balance of power
-Propaganda and fear mongering
-Propaganda is about prolonging an alternate reality
-The disaster movie genre
-The disaster movie genre
-Long tradition of painting societal breakdown and catastrophe as an inevitable occurrence assisted by human behavior
-Subgenre is rooted in human error, nuclear annihilation, and global-self destruction
a theme explored in:
-Third Cinema
-African Cinema
-new German cinema
-Many of the same struggles and geopolitical fights were occurring in Africa during this time
-Wave of independence began in 1960, when 17 countries in Africa were able to achieve local national governments
-Film movement that stressed a re-examination of reality, as advocated by the rebirth of Italy after WWII
-Wanted to break away from past styles and genres often associated with Hollywood
-Films that were on the ground in the streets w/ a documentary style
-Stylistically, the neo-realists rejected all Hollywood-style approaches to filmmaking
-Aesthetic and political cinematic movement in 3rd world countries (mainly Latin America and Africa) meant as an alternative to Hollywood (first cinema) and aesthetically oriented euro films (second cinema)
-Aspire to be socially realistic portrayals of life and emphasize topics and issues such as poverty, national and personal identity, tyranny and revolution, colonialism, class, and cultural practices
-Coined by Argentine filmmakers Fernando Solanas and Octavio Getino
-Rooted in Marxist aesthetics the British social documentary, and post WWII italian neorealism
-Key Goals:
-Revolution and emancipation by creating a new mass culture
-Destroying the systems and institutions that perpetuate colonialism and hegemony
-Forming a new kind of revolutionary cinema to achieve these goals, one that is outside of Hollywood and Europe, and the economic and financial limitations that come with filmmaking
-Film industry was nationalized by the communists/ussr in 1949 after being brutally destroyed during ww2
In the early 1960s censorship eased up and the film industry was somewhat decentralized
-During the golden age of Hungarian cinema in the 1960s-1970s, directors assert more control over their films. This atmosphere enables the production of distinctive dramas that incorporated elements of contemporaneous European new waves and took a philosophical or allegorical view of history
-long takes
-These filmmakers were obsessed with European art films and international cinema, and often showed these influences through their stylistic choices (ambiguous endings, handheld imagery, layered sound design)
-They were educated in film school and often merged these aesthetics with their appreciation for Hollywood genre cinema
-These films were many things (political, reflexive, raunchy, bloody), but they were also innovative from a narrative standpoint
-Method acting
-Youthpix
-Melodrama
-Many economic and ideological factors led to the new wave of German filmmaking in the 1960s and 70s
-One of the most important moments happened in 1962 when 26 young German filmmakers presented the Oberhausen Manifesto at the 8th annual Oberhausen film festival
-long takes
-Dramatized version of real events
-How are filmmakers using the docudrama to depict the story they want to tell
-Documentary aesthetics
-Handheld camera
-Talking head interviews
-Non-professional actors
-The BBC
-Became the staple and place where docudramas were most important
-Highly influential
Note 
Flashcard (59)