Film
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Film
British cinema was given a boost during the early 1980s by the arrival of David Puttnam’s company Goldcrest Films. The films Chariots of Fire, Gandhi, The Killing Fields and A Room with a View appealed to a “middlebrow” audience which was increasingly being ignored by the major Hollywood studios. While the films of the 1970s had helped to define modern blockbuster motion pictures, the way “Hollywood” released its films would now change. Films, for the most part, would premiere in a wider number of theatres, although, to this day, some films still premiere using the route of the limited/roadshow release system. Against some expectations, the rise of the multiplex cinema did not allow less mainstream films to be shown, but simply allowed the major blockbusters to be given an even greater number of screenings. However, films that had been overlooked in cinemas were increasingly being given a second chance on home video.
Silent film tinting, too, gained popularity during these periods. Amber tinting meant daytime, or vividly-lit nighttime, blue tints meant dawn or dimly-lit night, red tinting represented fire scenes, green tinting meant a mysterious atmosphere, and brown tints (aka sepia toning) were used usually for full-length films instead of individual scenes. D.W. Griffiths’ The Birth of a Nation (1915), John S. Robertson’s Dr. Jekyll and Mr. Hyde (1920), and the Robert Wiene’s The Cabinet of Dr. Caligari (1920) are some notable examples of tinted silent films.
In the U.S., a post-WW2 tendency toward questioning the establishment and societal norms and the early activism of the civil rights movement was reflected in Hollywood films such as Blackboard Jungle (1955), On the Waterfront (1954), Paddy Chayefsky’s Marty and Reginald Rose’s 12 Angry Men (1957). Disney continued making animated films, notably; Cinderella (1950), Peter Pan (1953), Lady and the Tramp (1955), and Sleeping Beauty (1959). He began, however, getting more involved in live action films, producing classics like 20,000 Leagues Under the Sea (1954), and Old Yeller (1957). Television began competing seriously with films projected in theatres, but surprisingly it promoted more filmgoing rather than curtailing it.
At this time, American gangster films like Little Caesar and Wellman’s The Public Enemy (both 1931) became popular. Dialogue now took precedence over slapstick in Hollywood comedies: the fast-paced, witty banter of The Front Page (1931) or It Happened One Night (1934), the sexual double entendres of Mae West (She Done Him Wrong, 1933), or the often subversively anarchic nonsense talk of the Marx Brothers (Duck Soup, 1933). Walt Disney, who had previously been in the short cartoon business, stepped into feature films with the first English-speaking animated feature Snow White and the Seven Dwarfs, released by RKO Pictures in 1937. 1939, a major year for American cinema, brought such films as The Wizard of Oz and Gone with The Wind.
The cinema of South Korea also experienced a ‘Golden Age’ in the 1950s, beginning with director Lee Kyu-hwan’s tremendously successful remake of Chunhyang-jon (1955). That year also saw the release of Yangsan Province by the director Kim Ki-young, marking the beginning of his career. Both the quality and quantity of filmmaking had increased rapidly by the end of the 1950s. South Korean films, such as Lee Byeong-il’s 1956 comedy Sijibganeun nal (The Wedding Day), had begun winning international awards. In contrast to the beginning of the 1950s, when only 5 films were made per year, 111 films were produced in South Korea in 1959.
The New Hollywood was the period following the decline of the studio system during the 1950s and 1960s and the end of the production code, (which was replaced in 1968 by the MPAA film rating system). During the 1970s, filmmakers increasingly depicted explicit sexual content and showed gunfight and battle scenes that included graphic images of bloody deaths – a notable example of this is Wes Craven’s The Last House on the Left (1972).
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