Word: socialism
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Dates: during 1960-1969
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...treatment is being offered by John Muller, Teaching Fellow in Social Relations, in order to gather information for his doctoral dissertation. Associate professor Bruce Baker and David Cohen, Teaching Fellow in Social Relations, started researching the treatment last summer. At that time, they treated 28 people for acrophobia (fear of heights) and reported that 60 to 70 per cent of them were much improved...
TODAY'S avant-garde in film is a director's movement. The American audience knowns Italian, French, Czech films as the work individual men. College audience, the newly-discovered gold mine of U.S. film distributors, appreciate foreign films for qualities of high social artistic awareness and personal expression. Given the importance of the youth market for ticket sales, the trend has even hit Hollywood, long considered by native critics the place where individual talent is lost. The names of young directors (Arthur Penn and, unfortunately, Mike Nichols) are becoming good box office. Hollywood has even begun to conceive that...
...Antonioni and the next Godard, and like them for the same things, are implicitly recognizing a clear line of aesthetic influence. A healthy chunk of the French New Wave's conception of film comes from Neo-Realism (Antonioni, visconti, Rossellini, de Sica, Fellini). Neo Realism's original choice of social reality for subject-matter and its tendency to documentary as method had a tremendous influence in France, giving rise to a large school of French documentarists (Jean Rouch, Chris Marker) and a larger consciousness of film as more that a purely fictional narrative medium. Andre Bazin, father of modern film...
Nevertheless, none of the new film movements really makes documentaries. The films of the Neo-Realists were the action of social reality on a particular sensibility: Open city (Rossellini), far from being objective, details at every moment Rossellini's outrage at the Nazi occupation of Rome. Godard's films similarly document the meeting or reality and sensibility, instead of documenting reality in a direct, objective manner. Thus fiction and fantasy abound in his works. The same is true of newer Eastern and Western European films, which delight in twisting old dramatic old dramatic forms and inventing new and yet more...
...same tendencies prevent these movements from being popular. The degree of social consciousness of any of their films depends entirely on the sensibility of the director. The film is his personal work; he is responsible to nobody. So much for socialist realism in the New Eastern European Cinema, although sweeping indictments based on what's shown in this country are probably unfair...