Wim Wenders, one of the key figures of New German Cinema, a movement similar to the
“Nouvelle Vague” in some ways, is of another generation than Fellini and Godard. In his film “Der Stand der Dinge” (1982) he literally commutes between the two poles of his
filmmaking, Europe and the US. The film begins in Portugal, where a film crew is forced to
stop shooting and ends at the place where all the great cinema myths arise, Hollywood.
Wenders’ film is an attempt by a young filmmaker to find a stable creative position in
unstable times. (Wenders had just experienced great difficulties in making “Hammett” (1982)
in the US). In “Der Stand der Dinge” this is exemplified by the direct inclusion of his own
thoughts about European and American filmmaking, images and stories, and black-andwhite
and colour film stock, opposites that are not harmoniously resolved at the end.
Among the three films discussed Wenders’ film within the film is the only one not
completed, suggesting an unsure future for the cinema.
In examining these three films, I shall focus on the following aspects: 6
• In what way does the film reflect on the history of motion pictures (references to it)?
• What attitude does the filmmaker have concerning the artificial-illusionist elements of
his profession/product?
• How does the filmmaker deal with the narrative and filmic conventions of his
profession?
• What does the film tell us about the film director’s artistic and working style. Does
“life imitates art” in these films?
• To which extent can autobiographic elements be found in these films and can any
parallels between the director in the film and the director of the film be drawn?
• How can the film be classified in the oeuvre of the director? Does it mark the end of
one phase of his work and/or lead into a new one?
• How is the “film within the film” plot accomplished?
Finally, all three films will be compared with each other with regard to the above
mentioned questions which will then lead to a final assessment of the self-reflexivity ,
explored in these films.
[...]
Table of Contents
- Introduction
- The Artist's Self-Consciousness and Early Cinema
- Neorealism and the Nouvelle Vague
- European Auteur Cinema and Self-Reflexivity
Objectives and Key Themes
This paper aims to examine the phenomenon of self-reflexivity in European Auteur cinema, focusing on films that explicitly address the filmmaking process. It explores how these films use the film milieu not merely as a setting, but as a means of reflecting on cinema's history, the director's role, and the conflict between artistic and commercial concerns.
- The evolution of the filmmaker's self-awareness in cinema.
- The impact of Neorealism and the Nouvelle Vague on the development of auteur cinema.
- The use of self-reflexivity as a tool for critical analysis of the film industry.
- The exploration of the relationship between reality and fiction in film.
- The role of the director as an auteur in shaping cinematic style and content.
Chapter Summaries
Introduction: This introductory chapter establishes the context for understanding self-reflexivity in cinema. It traces the evolution of the artist's self-awareness from the anonymity of pre-Renaissance art production to the rise of the individual artist as a significant figure, paralleling this development with the emergence of the auteur in filmmaking. The chapter highlights the initial use of the film milieu in early cinema primarily for comedic purposes and contrasts it with the later emergence of self-reflexive films that critically engage with the filmmaking process.
The Artist's Self-Consciousness and Early Cinema: This chapter delves into the historical context of artistic self-awareness, focusing on the Renaissance as a pivotal moment in the artist's recognition of their individual style and contribution. It compares the evolution of the artist's self-portraiture with the development of films about filmmaking. While early films utilized the filmmaking world as a setting, they primarily served comedic purposes or offered idealized portrayals of Hollywood, lacking critical self-reflection. The chapter also discusses the limited creative control directors initially held within the studio system, comparing their status to that of pre-Renaissance artists.
Neorealism and the Nouvelle Vague: This section analyzes the emergence of Neorealism in Italy and the Nouvelle Vague in France as critical counterpoints to commercial Hollywood cinema. It discusses the neorealists' rejection of Hollywood's illusionistic approach in favor of a socially conscious cinema, contrasting it with Fellini's later embrace of a more personal style. The chapter explores the Cahiers du Cinéma critics' ambivalent relationship with American cinema, their admiration for certain auteurs while simultaneously rejecting Hollywood's commercialism. The concept of the "Politique des Auteurs," emphasizing the director's unique authorship, is examined.
European Auteur Cinema and Self-Reflexivity: This chapter explores the rise of European Auteur cinema and its innovative revitalization of the "film about film." It emphasizes how this cinema, influenced by a love for earlier film movements like film noir, engages in self-reflection, not simply using the film setting for a conventional story, but also referencing film history and critically analyzing the mechanics of commercial cinema. The chapter introduces the three auteurs—Fellini, Godard, and Wenders—whose films will be examined in detail.
Keywords
Self-reflexivity, European Auteur Cinema, Federico Fellini, Jean-Luc Godard, Wim Wenders, Neorealism, Nouvelle Vague, film history, filmmaking process, artistic vs. commercial cinema, auteur theory.
Frequently Asked Questions: A Comprehensive Language Preview of European Auteur Cinema and Self-Reflexivity
What is the focus of this document?
This document provides a comprehensive preview of a paper examining self-reflexivity in European Auteur cinema. It includes the table of contents, objectives and key themes, chapter summaries, and keywords.
What are the key themes explored in the paper?
The paper explores the evolution of filmmaker self-awareness, the impact of Neorealism and the Nouvelle Vague, self-reflexivity as a critical tool, the relationship between reality and fiction in film, and the director's role as an auteur.
What is covered in the introduction?
The introduction establishes the context of self-reflexivity in cinema, tracing the evolution of the artist's self-awareness from pre-Renaissance art to the rise of the auteur. It contrasts early comedic uses of the film milieu with later critical self-reflection.
What does the chapter on "The Artist's Self-Consciousness and Early Cinema" discuss?
This chapter examines the historical context of artistic self-awareness, focusing on the Renaissance. It compares the development of self-portraiture with films about filmmaking, noting the limited creative control directors initially had within the studio system.
What is the significance of Neorealism and the Nouvelle Vague in the paper?
The paper analyzes Neorealism and the Nouvelle Vague as critical responses to Hollywood cinema. It discusses their rejection of Hollywood's illusionistic approach and the Cahiers du Cinéma critics' influence on the concept of the "Politique des Auteurs."
What is the main focus of the chapter on "European Auteur Cinema and Self-Reflexivity"?
This chapter examines the rise of European Auteur cinema and its self-reflexive approach to filmmaking, highlighting how these films critically analyze the mechanics of commercial cinema and reference film history. It introduces Fellini, Godard, and Wenders as key figures.
Which filmmakers are specifically discussed in the paper?
The paper focuses on the works of Federico Fellini, Jean-Luc Godard, and Wim Wenders as examples of European Auteur cinema employing self-reflexivity.
What are the key words associated with this paper?
Key words include self-reflexivity, European Auteur Cinema, Federico Fellini, Jean-Luc Godard, Wim Wenders, Neorealism, Nouvelle Vague, film history, filmmaking process, artistic vs. commercial cinema, and auteur theory.
What is the overall aim of the paper?
The paper aims to examine the phenomenon of self-reflexivity in European Auteur cinema, focusing on how films use the film milieu to reflect on cinema's history, the director's role, and the conflict between artistic and commercial concerns.
What type of audience is this preview intended for?
This preview is intended for an academic audience interested in film studies, particularly those focusing on European cinema, auteur theory, and self-reflexivity.
- Quote paper
- Jürgen Tobisch (Author), 2003, Film within Film - Self reflexivity in European Auteur Cinema, Munich, GRIN Verlag, https://www.grin.com/document/115227
