The Relation of Italian Neorealism, French New Wave and New German Cinema (Part 2)

           After we look at Italian Neorealism, now it’s time to see the French New Wave. It all started during the 1950’s, where the idealism of political movements during postwar gave way to a more apolitical culture of consumption and leisure. The emerging generation was led by youth who read film journals and attended screenings at Cahiers du Cinéma and “art & experiment” cinemas. However the government didn’t tap these new consumers. In 1958, the film industry was declining that the youngsters would like to make their own film, thus the government created Prime de la Qualité ("subsidy for quality"), where filmmakers receive subsidy for making films, if the script is interesting. This new style of film comprises of daily lives instead of studio-like films. It doesn’t mean New Wave filmmakers don’t like Hollywood films, they do like their artwork. However to them, filmmaking techniques can be invented, and surprisingly it became an inspiration to many famous filmmakers, one of them is Quentin Tarantino in his Pulp Fiction (1994). So what makes this wave so special? Jump cuts, rapid editing, on-location shooting, natural lighting, mobile cameras, and long takes (Hitchman, 2008) became the most prominent shots. These techniques have helped filmmakers shift into an artistic scene, where they experiment creativity in using shots. For instance, À bout de Souffle (1960) uses so much jump cuts in Patricia’s scene, when she was sitting in the car, because Godard wanted to give audience a sign that they are watching a film (Channel Criswell, 2015). In addition, they focus on what is more important in a frame, in order to save time during filming. Just like when you want to make an establishment shot. If you don’t have any budget, it is impossible to catch the city of New York with octocopter right? Or even cranes. Therefore Godard framed one important background, which is the door, and the man who wanted to run across. Thus, if the man moves across he can pan his camera. Less budget, saves time (Channel Criswell, 2015). This movement has been increasing until other filmmakers besides André Bazin’s Group, The Left Bank (Rive Gauche) had made several films that consist of professional, experimental movement. It consisted of Agnès Varda, Alain Resnais, and Jacques Demy. Three of them created films that aimed to emphasize literary and political perspectives, instead of cinematic language. As a result, Hiroshima Mon Amour won as the best film in Cannes Festival, 1959 due to the sexual intimacy, as well as political situations during Pearl Harbor in the story (Thompson & Bordwell, 2003). Unfortunately, during whole decade society didn’t put more interest into New Wave films anymore, until it declined. Therefore, New German Cinema has emerged, starting in 1962.

            Twenty six young filmmakers have signed a manifesto that the old film is dead in Oberhausen Film Festival. As a result, these pioneers, Herzog, Fassbinder, Schlöndorff, Wenders and Syberberg became the pioneers of New German Cinema.

“We were all great movie fans and we went to cinemas when we were 15 years old and 20 years old, 5 and 6 times a week; and we always what we saw was Manhattan, Hong Kong, California, Marseille, Paris and Rome. So I think we have a terrible need to show places in here too, and people who lives here too. And we want to show them. We wondered why aren’t we ever happening on the screen? Why always the others?”-Schlöndorff- (Anything I Like, 2013)

This movement happened not because they are inspired to replicate French New Wave, however they made films in order to rebel films that contained political propaganda, commercial films and gain more active spectators. The main reason was these youngsters want to make films again. Thus, these filmmakers gained petition for the government to give them subsidy. It took a lot of hard work because the governments didn’t believe what they were doing. Therefore, filmmakers used the limited, given equipment in order to create films. According to Schlöndorff, Germany has something to tell, which is from their cultural customs, as well as from literary works. It is proved when he adapted a novel called The Lost Honour of Katharina Blum (1974). The story tells about a maid who fell in love with a random guy in a party, and it turned out he is a terrorist and Katharina became a trap by the police. In this film, Schlöndorff conveyed the loss of humanity in people; he thought that people became mean by taking advantage of people. As a  result, Schlöndorff had successfully won two prizes in German Film Awards and San Sebastian International Film Festival (Schlöndorff, 1976). What makes this film different from other waves was the aspect of political rebellion, against commercial films that just making films based on market’s demands. Thus, these three movements reflect within each other, in similarity and differences.     

           It seems interesting to see the connections between those three waves, after the movement of Italian Neorealism. Clearly, each waves have a different flow of story when conducting new filmmaking, but on the other hand these movements have a quite similarity, and differences in each similarity, which will be looked at how they create history. I will elaborate about the similarity, and this similarity will show their differences as well.

The similarity can be seen from camera techniques. Mostly, young cinemas and neorealism used shot on-location, natural sound & lighting, low budget, handheld cameras, and improvised plot & dialogue. French New Wave is influenced by Italian Neorealism at first, then followed by German New Cinema (Thompson & Bordwell, 2003).  But there is something much more than these inventions. It is how filmmakers create a movement against political oppression and old tradition. Three of these movements has conveyed the angle of humanity based on those eras.

            Let’s jump back again to Italian Neorealism. This movement portrays the angle of humanity under an economic problem. Italian filmmakers make films as a stand against fascism, under the rule of Mussolini. Thus, Roberto Rossellini and Vittorio De Sica has captured the other side of Italy, besides political propaganda, and economy during post-war era. Mostly, Rossellini and De Sica wanted to portray the effects of working class men during post-war (Thompson & Bordwell, 2013). These Italian filmmakers wanted to convey that these people have suffered terrible unemployment and lack of financial stability. Only chosen people who can have a job but didn’t have an access to seize more income, except receiving low wages (De Sica, 1948). Moreover, elder people didn’t get any right to have a good place to stay due to unsustainable finance for pension. This example of reality has been depicted in another De Sica’s film, Umberto D. Umberto desperately tried to raise the money by selling his books and watch, even beg on the streets, so that he can pay his landlady, Antonia (De Sica, 1952).

             Another story when it comes to French New Wave. The French created La Nouvelle Vague in order to fight conservatism of Cinéma du papa, which consist of continuity, and targeted mainly to old people. In relation to social change, this old film connected to conservatism in covering sexuality and freedom in filmmaking. The reason is when there was a student protest against wage and social discrimination against sexes. At that time, youngsters separated dorms into men and women, which caused rage in students because sleeping together is a part of their freedom (‘Egalité! Liberté! Sexualité!: Paris, may 1968’, 2008). In addition, men and women must wear certain outfit as a part of manners during school, however the education system is discriminating. Only people with straight A’s can get to reputable universities. Based on this social problem, due to sexual and social oppression, Henri Langlois created Cinématheque Française. After the existence of his place, the 2 legendary film communities have emerged; Rive Gauche (The Left Bank) and Cahiers du Cinéma, which consist of André Bazin, François Truffaut, Eric Rohmer and Jacques Rivette. [W1] Mainly, Cahiers group is the pioneer of French New Wave, by establishing film critiques. They made reviews, criticized bad movies, analyzed films, and made films (Thompson & Bordwell), in order for movie goers to learn about film (Thompson & Bordwell, 2003). That was the most prominent signature of this movement in France because it is like the pioneer of film knowledge, particularly in learning French New Wave. In addition, the sexual revolution influenced how filmmakers obtain more liberal censorship by showing naked bodies. But what about The Left Bank? This group tended to see cinema as similar to other arts, particularly literature. According to The Left Bank, films can be made documentarily and experimentally, where the story in literature will be taken only the important ones. It is like when you skim an essay, and you highlight it with stabilo. This highlight will be used as one of the shot list (Channel Criswell, 2015). If you look at the film, À bout de souffle (1960), this film didn’t put continuity, meaning Godard just jump the shot into another scene, without smooth cutting, and surprisingly it turned out to look quite good. Although it might seem slightly distracting, but somehow Godard had successfully created witty shots (Godard, 1960).

        New German Cinema also played in developing a new angle of the story, and also this movement aimed to rebel political oppression and capitalism (Anything I Like, 2013). In addition, they wanted to show the life of the character. For instance, in Kluge’s film Yesterday Girl, Anita G. must drift through cities, tries to hold a job, indulges in petty theft, has love affairs, and winds up pregnant and in prison. In this film, it seems that Kluge might be inspired by Neorealism, because it tells the sad life of a character. But in terms of camera techniques, comparing to French New Wave, he still puts continuity in order to depict Anita’s past life and her present day (Thompson & Bordwell, 2003).

           To sum up the comparison above, in terms of storytelling, Italian Neorealism and German New Cinema is like a documentary film, because they want to show the exact reality of Italy from stories into shots, which might be boring for some audiences. But in contrary, French New Waves tells about the life of French youngsters (Thompson & Bordwell, 2003). In relation to New German Cinema, filmmakers experiment literature of politics and character relations. As it is explained before, the message of Katharina Blum’s story is related to the terrorism of Baader-Meinhof organization (Anything I Like, 2013). From the youngsters’ rebellion, finally they made an auteur film from their version, which means each of their films have a trademark in film techniques, or story. Thus, this movement has created an art cinema, and it has influenced Europe and Hollywood. Thanks to Italian Neorealism, De Sica and Rossellini has successfully convinced youngsters that making films can be done and inspired by your surroundings, especially through the parts of the world like Indonesia. Yes, it is very complicated because the history might seem quite different comparing to young cinema. However, I believe that Indonesian government should take a look in films, not just the censorship, but the distribution, and the subsidy system. Governments can form an institution of independent movies where young directors have a chance to develop their creativity, and when the story is interesting, they can give subsidies for youngsters to continue their filmmaking. It is beneficial for the government due to the fact that it will increase Indonesia’s tourism, as well as introducing the daily lives of Indonesians, from city life until rural life.   

The Relation of Italian Neorealism, French New Wave and New German Cinema (Part 1)

             Imagine if you are in a studio with an expensive set, filming a luxurious Hollywood story that can entertain the world. You are in L.A with good sunrays, full of camera supported machines just to capture certain shots, if you like filmmaking, this might be your dream come true. In addition, there will be a credit title like Scorsese, or Tarantino, which might sound good for your future career. Of course, you might get an awesome benefit from income, trust by people for applying creativity, and fame. But what if making films indicate something more about that? These film styles proves further filmmaker to go beyond the comfort zone. Films don’t have to be made inside a studio, or must put special effects just to make scene transitions. Moreover, you don’t have to think hard about depicting stories. Making films don’t have to tell stories about luxurious life; instead, these film styles tried to discover different angles of stories, takes, messages in order for people to enjoy, and understand the connections of film and socio-political aspects. Italian Neorealism, French New Wave and German New Wave were the answer. Starting 1940’s until 1960’s, these film styles were a huge breakthrough for youth and the history of cinema industry (Hitchman, 2008). From these styles, it can be shown that making films can be brought into a new angle, which is realism and new takes, which will be explained further.

                Let’s flash back to the decade of Italian Neorealism during 1943. The term ‘neorealism’ was applied by Antonio Pietrangeli to one of Luchino Visconti’s films, Ossessione (1943), then some famous neorealism filmmakers such as Roberto Rosselini, Visconti and Vittorio De Sica, which were Rome, Open City (1945), Shoeshine (1946), Paisan (1946), Bicycle Thieves (1948) and The Earth Trembles (1948) in order to convey messages on the voice of poor working class (Hitchman, 2008). It all began when Italy was under Benito Mussolini in World War II. Mussolini has controlled the country since 1924, and also the censorship of films. During that time many Italians enjoyed Hollywood film, and these films successfully ‘doctrine’ Italians by picturing the admiring life of Hollywood. Since more Italians put attention on Hollywood films, Mussolini created censorship rules through dubbing control, as well as creating LUCE (L’unione Cinematografica Educativa 1925-1929) which produce movies that educates national politics and Italian culture with the intention of shifting Italians’ interest from Hollywood movies, and also to persuade Italians for further weapons before continuing World War II (‘The Cinema under Mussolini’, n.d). One year later, in 1943, Luigi Freddi led Direzione Generale per la Cinema, a state funded and controlled censorship institution, held up by Fascists and War Minister Officials. Their job was to examine scripts, award filmmakers who won films in a Fascism cause, and monitor the importation of foreign films (‘The Cinema under Mussolini’, n.d). The objective of this institution was like in Suharto’s regime. They want to ban Hollywood films due to the negative influence on their country’s nationalism, and additionally, Italian filmmakers could not make films that oppose Mussolini’s ideology of fascism. As a result, many Italian workers were depressed due to the lack of entertaining movies and the lacking of economic structure because of war. Therefore, Mussolini conducts ENIC (Ente Nazionale Industrie Cinematografiche) bought up a movie theater chain. In 1938, the ENIC expanded to re-regulate the number of foreign films. This channel may lead to the increase of viewers as long as the importation was still limited. In addition, Mussolini established Centro Sperimentale di Cinematografia, a professional film school which still functions today (‘The Cinema under Mussolini’, n.d). More importantly, Mussolini opened up Italy’s first film studio, Cinecitta in 1937, to help filmmakers produce movies consist of Fascist messages. By the time Mussolini held the grand opening, April 21st, was very impactful that it was the day believed to be the founding of ancient Rome, thereby drawing a connection between the greatness of ancient Rome and that of Italian Cinema. Mussolini named himself the principal orchestra in Italian Cinema by placing a picture of himself behind a film camera with a spin-off of Lenin's quote , “Film is the most powerful weapon” at the Cinecitta' studios (‘The Cinema under Mussolini’, n.d). After the fall of Mussolini in 1943 in the end of World War II, some filmmakers created a liberation of film making, where directors shoot real locations, as well as using non-professional actors from factory and working class employees in order to cut the budget. In addition, filmmakers put an angle of the life of working class men, as a conveyance of Italy’s condition during Mussolini’s regime. For instance, the movie The Bicycle Thieves portrays life of a factory worker, Antonio Ricci, who was losing a bicycle for his main working transportation under post-World War II economic crisis. This man worked hard to find his bicycle by asking policemen for help, or else he wouldn’t have been able to work. The obstacles of prejudices of his economic status and untruthfulness made him obliged to steal one bike (De Sica, 1948). From this brief synopsis, this film indicates how the life of working class men has less privileges of earning a living due to high unemployment during post-war.

             As it is explained before, the aim of Italian neorealism is to emphasize social problems such as unemployment, poverty, and the life of working class men. Ideologically, besides focusing on social problems, filmmakers want to oppose fascism by focusing on an emphasized emotion rather than abstract ideas, with the purpose of showing sad emotions, natural acting, and sad endings. If we look at The Bicycle Thieves, the main actor in a nonprofessional. In fact, he is a factory worker which was assigned as an actor (Sphinxj1019, 2013). This style of film proves that making films can be done not just on studio, but on set as well, and since the sound control isn’t yet practical enough, filmmakers must redub their voices during editing, which indicates that these filmmakers proved that making films can be inspired from environments surrounding us. As a result, Italian Neorealism has influenced other film movements in France and Germany based on the political and social issues as well, until the France youth made La Nouvelle Vague (French New Wave) such as Jean Luc-Godard, Francois Truffaut, Jacques Rivette and Eric Rohmer. They embraced neorealism as a benchmark of making films (2012) and soon the Neue Deutsche Welle (New German Cinema) in the ideas low-budget style of filmmaking, after the declining of German Cinema.  

Film and The Third Worldism

Many Western youth supports the abolishment of Vietnam War, and instead supports
communism and third world philosophies (Maoism, Cuban, etc.) However, it becomes very ironic when the Vietnam and other third world countries have started to rebel against them, because in fact the government (especially U.S toward Vietnam) has taken many people’s lives. Until several years later some filmmakers studied film in Europe and decided to make films in different styles as a part of political weapon. It starts like this.

The rise of third world films has established during 1960’s until 70’s (most active during 70’s),
where Vietnam has lost the relationship with Soviet Union, and gain sovereignty out of imperialism
oppression. Other countries such as Egypt, Turkey, India, Africa, Cuba and others strive to be on their
own by making films as a part of rebellious stance on colonialism, by creating films that are inspired by Art Films.

For example, the Turkish film named Umut (Hope; ‘1970’) implies Italian neorealism approach by
describing the life of a taxi man who struggles hard to win the lottery, while everybody laughed at him. This film is inspired by neorealism because it uses the story angle of a horse taxi driver who strives to be rich in order to sustain his family’s living, after his horse passed away (Serif Gören, 1970) . From this moment, many third world countries created political films with the aim of political rebellion toward the imperialists after the invasion. Then why were they inspired by European films? Because in these days the United States has strived to conquer the world, that many aesthetics of their culture doctrines many third world countries, yet wreck their political virtue as well, for instance in Vietnam, Turkey, and Africa. But on the other hand, South America was haunted by American films. The influence of Hollywood market has successfully doctrine South America by giving the aspects of their music, star system, and the glamorous system of Hollywood studios, while at the same time they imply neorealism technique as well; although the main purpose of the film style is to create a political movement.

I believe that this era of Third Worldism influenced many countries in many ways. Some
European films might be inspired by Italian Neoralism and Soviet Montage instead of Hollywood, while Hollywood can influence how the movie industry works in South America, yet being rebellious with North America also. I think the influence of film styles had greatly doctrine third world countries, while at the same time they have their voice for their own country. It is not just about the film style, but it is about their life story; their angle of what the filmmakers want to say about their condition. It is like the other side of youth rebellion.

How Films Can Change People

The revolution of New Era in western countries have emerged until the social change
exist. From this revolution the social and cultural perspective may affect how they behave
nowadays, in addition the influence of social change and historical timeline may lead to how
the film in many countries depict what they are. In terms of Hollywood films, within two
decades Hollywood films had a drastic recession and rise due to the lack of audiences’ market
and style of genres. However, the influence of social change affected greatly on today’s
Hollywood films.

In 1960’s the expansion of new notion of women’s’ rights, black people power, and the
development of birth control had become a ‘counterculture,’ where society shift their lifestyle
into an anti-mainstream, which are sex and drugs. Since the movie recession existed during
those times, as a result Hollywood movies were made as an “engaged” filmmaking of social
protest. 1 It has shifted into low budget productions, in addition they were inspired by European
art house films, and one of them was by filming scenes in real locations. The reason why low-
budget films were a trend is because the interest of movie theaters were recessing, until they
showcased the same movie for about 6-12 months. According to the movie producers, the only
way that Hollywood movies can emerge is to show sexual contents, promiscuity and suburban
adultery.

This change lead Hollywood films regain the thrown by changing the film marketing. The
producers created categories for film ratings, created studios for successful films, and as a way
to balance the supply and demand regarding film budgets, for big-budget films they showcased
it every high season. One of the most memorable films were The Godfather (1972), Jaws (1975)
and Star Wars (1976). After that, Hollywood expanded into establishment of talent agencies,
low budget films, and new genres; such as sexploitation, horror, action and martial arts films.
I think that from these changes, the help of their commercial purpose turned Hollywood
films into the most powerful film production in the world. They’re techniques of film marketing
greatly targeted to the audience very well, that they actually gain the dignity back in return.
Due to this change, the expansion of Hollywood films can easily ‘doctrine’ almost the entire
world, including other continents such as Asia. From their perseverance of gaining the
reputation of Hollywood, the inspiration of social change can refer to what they will think about
the next filmmaking style.

German New Wave? Hmm I Should've Known Better

The invention of new wave cinemas did spread across several countries, such as Italy,
German and Great Britain. These movies are mostly made in low budget system, as well as
depicting the rebellion of youngsters back then. According to them, every stories must be a
personal conveyance to the audience. Meaning that films can be made based on their daily lives
and point-of-views of the society, and political system. The most prominent example of this
kind of rebellion is to Germany, because the application of the old system didn’t quite impactful
for the new waves; such as war, dictatorship, and taboo system. Therefore, what makes
German movies in these times differ to other types of new waves films? Here is how it
happened.

It started when there was Oberhausen Film Festival in 1962. Twenty-six young
filmmakers declared that the old film is dead. Due to the decay of mainstream movies, after
three years of public debate, the government has finally established Kuratorium Junger Deutsch
Film (“Commission for Young German Film”), and gave free-loans for young filmmakers if the
script is good enough to be filmed. Moreover, as a part of their freedom of speech, many
German films experienced new perspectives of stories, by describing broken marriages, soured
affairs, rebellious youth and casual sex.

This theme relates to the film Baader Meinhof Complex. Although it was released on
2008, however this film described the situation of German rebellion during 1960’s, which was
the terrorist organization, Baader Meinhof Group. The group was considered as a leftist in West
German area, because at that time they were supporting Marxism-Leninism, Anti-Fascism and
Third Worldism ideology. As a result these rebellious acts has changed the way German did
until now.

In conclusion, this type of new wave films pictured the rebellion of youngsters during
the 60’s. As a result this type of film can be accepted by the society because many youngsters
agree with their thought, and had a lot of control from the government. But what about in
Indonesia? C’est au contraire. The influence of religion (specifically Muslims) played a major
role of what societal norms have to be.

French New Wave: La Vie en Rose

The innovation of French New Wave Cinema, (or can be referred to La Nouvelle Vague)
was a film language innovation during French cinematic history. During the 50’s until about late
70’s, at first the style of French films were very dictated under Hollywood approach, meaning
that making good films must build a studio, and must have expensive machines in order to get
the best takes. According to youth filmmakers, the message delivery is not personal to the
French daily life. As a result, François Truffaut, Jean-Luc Godard, Agnes Varda, Claude Chabrol,
Jacques Rivette, Alain Resnais, Louis Male, Eric Rohmer and Jacques Demy made a
breakthrough, which is called La Nouvelle Vague.

The influence of La Nouvelle Vague came when youth filmmakers decided to change the
filmmaking theory, by capturing real life experience in the movie, and invented new shots
without adding expensive equipment; because at that time, although they admire studio-made
film, however French films didn’t express human life, thought, and emotion in a genuine way. 1
In this era of film, most directors portray the reality of French lives. As a result, most films
attracted great attention to youth that big theaters in France started to experience bankruptcy.
Therefore, the government of France subsidized those directors in order to develop their new
films, as well as entering the movie theater.

Most youth preferred to attend small movie screenings, as well as appalled in seeing
new shots. So what is so special about the shots? Mostly, La Nouvelle Vague applied jump cuts,
rapid editing, shooting outdoors & location, natural lighting, improvised dialogue and plotting,
direct sound recording and long takes 2 . For instance, the application of the new wave film on
L’auberge Espagnole and Casse-tête Chinois applied jump cuts during the last scene in
L’auberge Espagnole, where the director showed different faces in one sequence, and freeze
shots in Casse-tête Chinois.

I think this invention of French New Wave really amaze me, because it is not just about
the shot inventions, but the style of 50’s and 70’s that indirectly becomes a trademark of La
Nouvelle Vague, although some shots have been applied in some film nowadays, however the
influence of La Nouvelle Vague has created a major change in cinematic development, as well
as the pop culture in fashion, advertising, and lifestyle.

Here's How Italian Neoralism Movies Show A Glimpse of Real Life.

The early modernism of films had influenced Italy in redeveloping the liberation of their
country, after Mussollini being executed. During Mussollini’s regime, the development of film
wasn’t as free as before, because during that time the allied military forces in Italy cooperated
with the U.S government, which has slowly occupied the whole domination of market system,
including film. As a result, the revolution of this film making affects almost the entire world
started from 1945, and clearly affect the country’s social change.

These movements from small productions in Italy became a hit as they created films
with the element of neorealism. In this style, the depiction is to visualize the conditions of
working class during the post war era. For instance, Bicycle Thieves portray a perfect example of
neorealism because the character of a working class showed a part of rebellious of Italian film
movement, after the dictatorship of Mussollini in making propaganda films.

In this movie, the story portrays the struggle of a working man during economic crisis, who strived to find his bike with his son. However he couldn’t find the bike until he must steal someone’s bike in order to work for his family. From this story in general, Italian neorealism describes a life of humanity, mostly takes an angle of working class people. One of the example is the film, Umberto D. The director brings a maid as a main character in order to see another perspective as well as her
life. Moreover, many Italian neorealism as well portrays melodramatic effect, due to the fact
that Italian film makers want to show something real, especially during post war era.

On the other hand, the most magnificent is that Italian realism created new shots that
were also magnificently innovative through the journey of film history, which are shooting in a
real, outdoor setting, voice editing, as well as the length shot. As a result, I believe that Italian
neorealism helps the world to show unique perspectives in gripping a story. Comparing to
Hollywood classical films, many point-of-views are character driven, which means that
Hollywood film makers emphasize more on the psychology of a character, while Italian
neorealism focuses on social problems.

In my opinion, during these times film makers had power to give propaganda to the world because those films aim to get sympathy for those who watch it, and most importantly it tells the truth. In contrast, I believe that Italian neorealism is slightly influenced by the U.S colony, because from Umberto D scene, the shot focuses on the character driven mode, and if those film makers want to make a different genre, I believe that the elements of classical Hollywood movies cannot be fully separated. Therefore this neorealism can be an inspiration movie making for certain genres, for example biopic, historical, and individuals story.