**This class will be taught on Zoom**
After World War II, young filmmakers around the globe expressed their generation’s disillusionment by breaking the rules of filmmaking. They used documentary techniques like improvisation and on-location shooting to create a fresh alternative to Hollywood studio storytelling. Their films also brought real, raw stories to the silver screen that weren’t usually told. In this survey course, we’ll explore six new-wave movements – Italian Neorealism, Kitchen Sink Cinema (England), Nouvelle Vague (France), Nūberu bāgu (Japan), Neuer Deutscher Film (Germany), and New Hollywood – and discuss how they influenced one another and future generations, and forever changed how cinematic stories are told.
Each week, we will examine one new-wave film from each of six national movements. For example:
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Italian Neorealism (1943-1954): Bicycle Thieves (Vittorio De Sica, 1948)
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Kitchen Sink Cinema (British, 1958-1963): A Taste of Honey (Tony Richardson, 1961)
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Nouvelle Vague (French, 1958-1973): Cléo from 5 to 7 (Agnès Varda, 1962)
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Nūberu bāgu (Japanese, 1956-1976): Branded to Kill (Seijun Suzuki, 1967)
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Neuer Deutscher Film (German, 1968-1982): The Enigma of Kaspar Hauser (Werner Herzog, 1974)
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New Hollywood (U.S., 1967-1982): Taxi Driver (Martin Scorsese, 1976)
