European art cinema
European art cinema is a branch of cinema that was popular in the 1960s. It is based on a rejection of the tenets and techniques of classical Hollywood cinema .
European art cinema gained popularity in the 1960s, with notable filmmakers such as Federico Fellini , Michelangelo Antonioni , and Ingmar Bergman .At this time it was new to the even broader field of art cinema .
The continuity editing system is not necessarily abandoned but instead is not needed . The cause and effect driven narrative , as well as the goal-oriented protagonist are also not needed. Instead, we may have the protagonist wander around aimlessly for the whole movie, with nothing of real importance happening to drive him from one activity to the other.
Notable films：
1.）Closely Watched Trains 2.）Bicycle Thieves 3.）8 1/2 4.）Wild Strawberries
8½ （1963）
8½ is a 1963 Italian comedy-drama film directed by Federico Fellini . 8½ won two Academy Awards for Best Foreign Language Film and Best Costume Design (black-and-white).
Plot
Guido Anselmi ( Marcello Mastroianni ), a famous Italian film director, is suffering from " director's block ". Stalled on his new science fiction film that includes veiled autobiographical references, he has lost interest amid artistic and marital difficulties. As Guido struggles half-heartedly to work on the film, a series of flashbacks and dreams delve into his memories and fantasies;they are frequently interwoven with reality.
Themes
8½ is about the struggles involved in the creative process, both technical and personal, and the problems artists face when expected to deliver something personal and profound with intense public scrutiny, on a constricted schedule, while simultaneously having to deal with their own personal relationships.
It is, in a larger sense, about finding true personal happiness in a difficult, fragmented life. Like several Italian films of the period (most evident in the films of Fellini's contemporary, Michelangelo Antonioni ), 8½ also is about the alienating effects of modernisation .
I would like to recommend my favorite scenes.
8½ （1963）
Federico Fellini
Federico Fellini ( January 20, 1920 – October 31, 1993) was an Italian film director and screenwriter.
Known for his distinct style that blends fantasy and baroque images with earthiness, he is considered one of the greatest and most influential filmmakers of the 20th century. Some of his films are placed in polls such as in Cahiers du cinéma and Sight & Sound as some of the greatest films of all time, with his 1963 film 8½ being listed as the 10th greatest film of all time by Sight & Sound .
In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita , was nominated for twelve Academy Awards , and directed four motion pictures that won Oscars in the category of Best Foreign Language Film. In 1993, he was awarded an honorary Oscar for Lifetime Achievement at the 65th Annual Academy Awards in Los Angeles.
Amélie
Amélie is a 2001 romantic comedy film directed by Jean-Pierre Jeunet. Written by Jeunet with Guillaume Laurant, the film is a whimsical depiction of contemporary Parisian life, set in Montmartre. It tells the story of a shy waitress, played by Audrey Tautou, who decides to change the lives of those around her for the better, while struggling with her own isolation. The film was a co-production between companies in France and Germany. Grossing over $33 million in limited theatrical release, it is still the highest-grossing French-language film released in the United States.
The film received critical acclaim and was a major box office success. Amélie won Best Film at the European Film Awards; it also won four César Awards (including Best Film and Best Director), two BAFTA Awards (including Best Original Screenplay), and was nominated for five Academy Awards. A Broadway adaptation is in development.
Plot：
Amélie Poulain was raised by eccentric parents who — erroneously believing that she had a heart defect — prevented her from meeting other children. She was home schooled by her mother. She developed an active imagination and fantasy life to cope with her loneliness. After her mother is killed in a freak accident, her father's withdrawal from society worsens. Amélie eventually decides to leave home and becomes a waitress at Café des 2 Moulins in Montmartre, which is staffed and frequented by a collection of eccentrics. Spurning romantic relationships after a few disappointing efforts, she finds contentment in simple pleasures and letting her imagination roam free.
On 31 August 1997, Amélie is startled by the news of the death of Princess Diana, causing her to drop a plastic perfume-stopper which in turn dislodges a loose bathroom tile. Behind the tile she finds an old metal box of childhood memorabilia hidden by a boy who lived in her apartment decades earlier. She resolves to track down the boy and return the box to him, and promises herself that if she finds him and it makes him happy, she will devote her life to bringing happiness to others and helping others as much as she can.
She asks Mrs. Wells, the concierge, about the boy. Wells redirects her to the abusive greengrocer, Mr. Collignon, who redirects Amélie to his mother. Mrs. Collignon remembers the name "Dominique Bredoteau", but Amélie has no success finding the owner of the box. Amélie meets her reclusive neighbour, Raymond Dufayel, a man whose bones are as fragile as glass and an artist who repaints Luncheon of the Boating Party by Pierre-Auguste Renoir every year. He remembers the boy also, but correctly recalls the name as "Bretodeau". Amélie quickly finds the man and surreptitiously passes him the box. Moved to tears by the discovery and the memories it holds, Bretodeau resolves to reconcile with his estranged daughter and the grandson he has never met. Amélie happily embarks on her new mission.
Amélie secretly executes complex schemes that affect the lives of those around her. She escorts a blind man to the Métro station, giving him a rich description of the street scenes he passes. She persuades her father to follow his dream of touring the world by stealing his garden gnome and having a flight attendant friend airmail pictures of it posing with landmarks from all over the world. She kindles a romance between a middle-aged co-worker and one of the customers in the bar. She convinces Mrs. Wells that the husband who abandoned her had sent her a final conciliatory love letter just before his accidental death years before. She avenges Lucien, Mr. Collignon's meek but good-natured assistant (who is the constant target of his abuse), by playing a number of practical jokes on Collignon, leaving him utterly exhausted and his ego deflated, while a delighted Lucien takes charge at the grocery stand.
While she is looking after others, Mr. Dufayel is observing her. He begins a conversation with her about his painting, a replica of Luncheon of the Boating Party. Although he has copied the same painting 20 times, he has never quite captured the look of the girl drinking a glass of water. They discuss the meaning of this character, and over several conversations Amélie begins projecting her loneliness on to the image. Dufayel recognizes this, and uses the girl in the painting to push Amélie to examine her attraction to a quirky young man who collects the discarded photographs of strangers from passport photo booths. When Amélie bumps into the young man a second time, she realizes she is falling in love with him. He accidentally drops a photo album in the street. Amélie retrieves it. She discovers his name is Nino Quincampoix, and she plays a cat-and-mouse game with him around Paris before returning his treasured album anonymously. After orchestrating a proper meeting at the 2 Moulins, she is too shy to approach him and tries to deny her identity. Her co-worker, concerned for Amélie's well-being, screens Nino for her; a café patron's comment about this misleads Amélie to believe she has lost Nino to the co-worker. It takes Dufayel's insight to give her the courage to pursue Nino, resulting in a romantic night together and the beginning of a relationship.
Film Review：
This is a movie with a few meters of the landscape, such that the open subway, downtown amusement park; this is a plot with a Hitchcock movie, such as rear window glass man with binoculars camera, which is Wong Kar-wai has a style, you can look at a snack bar journeyman Tony Wong sneaked into the room quietly changed his life, too, Emily maid cafe with a key to a vegetable store owner, elusive teasing his every nerve.
Although it has so much pure color and accordion melodies, but it is a Hans Christian Andersen, Grimm's, children's movies. Emily, a lonely old people can give back fifty years ago, the memories of the children, a Santa Claus can be mailed to children anywhere in the world, a language used for crossing the beauty of the world's blind uncle depict children, one for lonely landlady letter sent forty years ago Acacia girl with a painted blue arrow in the park, make love not catch their children.
In her camera, the clouds can become any shape she wants, and her people Tricky, huh, huh, it can be miserable. In her television, the lines can become whatever she wants dialogue, face people who need help, she will do everything we can. The glass people, are painted two decades of Renault • A "Luncheon on board." He said his most difficult to try to figure out, is that the picture is the most insignificant, the most humble a woman. It is also modest in life Emily changed the lives of everyone. In fact, she was not an angel, she was just an ordinary child.
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