Der vorliegende Artikel umreißt die Rahmenbedingungen zur Entwicklung eines ‚starken Programms‘ f... more Der vorliegende Artikel umreißt die Rahmenbedingungen zur Entwicklung eines ‚starken Programms‘ für eine Soziologie des Kinos. Hierzu werden zunächst soziologische Pionierarbeiten zur Erforschung des neuen Mediums des Films dargestellt. Daran anschließend wird die Problematik der (Be-)Gründung einer eigenständigen Filmsoziologie in Auseinandersetzung mit den Konzepten von Massengesellschaft und Massenkultur sowie den Filmwissenschaften dargelegt. Als Ausweg aus diesem konfliktbehafteten Feld plädieren Heise und Tudor schließlich für die Entwicklung eines starken filmsoziologischen Programms auf Grundlage der Soziologie Pierre Bourdieus
The experience of the 1960s had a profound influence on both politicized cinema and on the critic... more The experience of the 1960s had a profound influence on both politicized cinema and on the critical discourse surrounding it. This article explores that influence and its subsequent legacy in the comparative contexts of Brazil and Europe. In Europe the most striking developments were to be seen in France after 1968, most particularly in the “revolutionary cinema” of Jean-Luc Godard during his involvement with the Dziga-Vertov Group. At the same time, the French film journals Cahiers du Cinéma and Cinéthique sought to theorize the forms of radical cinema within a materialist perspective. By examining Godard’s politico-aesthetic trajectory, and by developing the Cahiers classification of the forms taken by political cinema, we provide a basis for understanding developments in post-1960s European political cinema. In Brazil, with its increasingly repressive regimes after 1964, the impact of the 1960s was more far-reaching. The early 1960s saw the emergence of Cinema Novo, a radical movement of filmmakers among whom the best known figure was Glauber Rocha. By examining Rocha’s filmmaking career, as well as some aspects of his writings, we seek to understand the rather different route traveled by radical cinema in Brazil and, indeed, in Latin America more generally. Here the most significant theorization is to be found in the 1969 Third Cinema manifesto formulated by the Argentinean filmmakers Fernando Solanas and Octavio Getino. We then trace the subsequent trajectory of politicized filmmaking in both Europe and Brazil. In both cases there has been a marked retreat from the radicalism in form and content exemplified in the films of Godard and Rocha, with a broadly reformist political cinema prevailing. We argue, however, that there remains a vibrant tradition of radical filmmaking which functions primarily in the area of documentary, and that it is here that the future of political cinema lies.
... to offer introductory information on history, analysis, theory, aesthetics, appreciation, scr... more ... to offer introductory information on history, analysis, theory, aesthetics, appreciation, scripting, production techniques--and different film genre, is Richard M. Blumenberg's ... It is Axel Madsen's The New Hollywood: American Movies in the 70s (New York: Crowell, 1975---$7.95). ...
Der vorliegende Artikel umreißt die Rahmenbedingungen zur Entwicklung eines ‚starken Programms‘ f... more Der vorliegende Artikel umreißt die Rahmenbedingungen zur Entwicklung eines ‚starken Programms‘ für eine Soziologie des Kinos. Hierzu werden zunächst soziologische Pionierarbeiten zur Erforschung des neuen Mediums des Films dargestellt. Daran anschließend wird die Problematik der (Be-)Gründung einer eigenständigen Filmsoziologie in Auseinandersetzung mit den Konzepten von Massengesellschaft und Massenkultur sowie den Filmwissenschaften dargelegt. Als Ausweg aus diesem konfliktbehafteten Feld plädieren Heise und Tudor schließlich für die Entwicklung eines starken filmsoziologischen Programms auf Grundlage der Soziologie Pierre Bourdieus
The experience of the 1960s had a profound influence on both politicized cinema and on the critic... more The experience of the 1960s had a profound influence on both politicized cinema and on the critical discourse surrounding it. This article explores that influence and its subsequent legacy in the comparative contexts of Brazil and Europe. In Europe the most striking developments were to be seen in France after 1968, most particularly in the “revolutionary cinema” of Jean-Luc Godard during his involvement with the Dziga-Vertov Group. At the same time, the French film journals Cahiers du Cinéma and Cinéthique sought to theorize the forms of radical cinema within a materialist perspective. By examining Godard’s politico-aesthetic trajectory, and by developing the Cahiers classification of the forms taken by political cinema, we provide a basis for understanding developments in post-1960s European political cinema. In Brazil, with its increasingly repressive regimes after 1964, the impact of the 1960s was more far-reaching. The early 1960s saw the emergence of Cinema Novo, a radical movement of filmmakers among whom the best known figure was Glauber Rocha. By examining Rocha’s filmmaking career, as well as some aspects of his writings, we seek to understand the rather different route traveled by radical cinema in Brazil and, indeed, in Latin America more generally. Here the most significant theorization is to be found in the 1969 Third Cinema manifesto formulated by the Argentinean filmmakers Fernando Solanas and Octavio Getino. We then trace the subsequent trajectory of politicized filmmaking in both Europe and Brazil. In both cases there has been a marked retreat from the radicalism in form and content exemplified in the films of Godard and Rocha, with a broadly reformist political cinema prevailing. We argue, however, that there remains a vibrant tradition of radical filmmaking which functions primarily in the area of documentary, and that it is here that the future of political cinema lies.
... to offer introductory information on history, analysis, theory, aesthetics, appreciation, scr... more ... to offer introductory information on history, analysis, theory, aesthetics, appreciation, scripting, production techniques--and different film genre, is Richard M. Blumenberg's ... It is Axel Madsen's The New Hollywood: American Movies in the 70s (New York: Crowell, 1975---$7.95). ...
Der vorliegende Artikel umreißt die Rahmenbedingungen zur Entwicklung eines ‚starken Programms‘ f... more Der vorliegende Artikel umreißt die Rahmenbedingungen zur Entwicklung eines ‚starken Programms‘ für eine Soziologie des Kinos. Hierzu werden zunächst soziologische Pionierarbeiten zur Erforschung des neuen Mediums des Films dargestellt. Daran anschließend wird die Problematik der (Be-)Gründung einer eigenständigen Filmsoziologie in Auseinandersetzung mit den Konzepten von Massengesellschaft und Massenkultur sowie den Filmwissenschaften dargelegt. Als Ausweg aus diesem konfliktbehafteten Feld plädieren Heise und Tudor schließlich für die Entwicklung eines starken filmsoziologischen Programms auf Grundlage der Soziologie Pierre Bourdieus.
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