art of director, screenwriter, and actor Martin Scorsese as an author's cinematography model

Martin Scorsese is an outstanding contemporary director, who strongly influenced the artistic and aesthetic foundations of American (authors’ in particular) cinematography of the 19th–20th centuries He was and remains one of the outstanding creators who shaped the aesthetics of the “New Hollywood” cinematography. In the period from 1917 to the early 1960s, there was a paradigm of “classic Hollywood”, in which films were produced according to the dominant aesthetic, genre and narrative formulas, the characters represented themselves as specific typical images with understandable motivations for the general public. Martin Scorsese is a representative of cinematography, who changed classical views of film art. That is why the study of Martin Scorsese's work remains relevant for researchers in the field of cinematography and culture to the present day. The purpose of this work is to study the creativity of director, screenwriter and actor Martin Scorsese, as well as to identify the author's style in the artist's work, determine his author's handwriting and manner. The methodology of this research is based on theoretical methods of scientific knowledge, in particular, the method of information analysis and synthesis, the cultural method, as well as historical and comparative methods were used.

Author's cinematograph of new Hollywood

The paper is devoted to the problems of director's self-fulfilment in the cinematograph of New Hollywood. The study examines such a unique phenomenon of the artistic culture of the 20th century as American author's cinematograph. The relevance of this study is determined by the trends in the development of New Hollywood, which have radically changed the essence of modern cinematograph. The purpose of the study is to identify the specifics of New Hollywood cinema, which resonated in the work of modern Hollywood directors as an influential and competitive area. The main emphasis in this study is placed on the attempts of both historians and film theorists, as well as practitioners themselves to find clear boundaries between American independent and mass Hollywood cinematograph, as well as on the reasons why film critics and culturologists consider a particular American film to be independent, author's, or mass cinema (the so-called mainstream). At the same time, the main areas and trends of American author's cinematograph are studied from the point of view of director's self-fulfilment. Examples from films by American directors and authors were analysed. Methods of scientific analysis, comparison, and generalisation were used in the study of the topic.

A Road Less Travelled: The American Biker Film of the 1960s and 1970s

<p>In the period 1966-1974 there were at least forty independent, low-budget feature films made in the United States about motorcycle gangs. These films were inspired by media coverage of the notorious exploits of actual gangs in the post-War period. They depict bikers as violent libertines who live non-conformist lives and engage frequently in anti-social behaviour. The films are marked by motorcycle 'runs,' wild parties, brawls, and sexual violence. While the biker film has received some critical attention, it has not been analysed to the same extent as that more reputable and better known genre of the same period, the road movie. This thesis will expand on existing research by initially examining the factors that shaped the biker film, such as the media panic about real gangs, the influence of the counterculture, exploitation filmmaking, and New Hollywood cinema. The project will also investigate the narrative features of the genre, and link this analysis to debates around post-classical narration. Finally, the thesis will interpret the representation of gender in the biker film. This thesis will argue that the biker film should be situated within a continuum of male-oriented genres that involve violent spectacle. It will also make a contribution to the ongoing research on New Hollywood cinema.</p>

A Road Less Travelled: The American Biker Film of the 1960s and 1970s

<p>In the period 1966-1974 there were at least forty independent, low-budget feature films made in the United States about motorcycle gangs. These films were inspired by media coverage of the notorious exploits of actual gangs in the post-War period. They depict bikers as violent libertines who live non-conformist lives and engage frequently in anti-social behaviour. The films are marked by motorcycle 'runs,' wild parties, brawls, and sexual violence. While the biker film has received some critical attention, it has not been analysed to the same extent as that more reputable and better known genre of the same period, the road movie. This thesis will expand on existing research by initially examining the factors that shaped the biker film, such as the media panic about real gangs, the influence of the counterculture, exploitation filmmaking, and New Hollywood cinema. The project will also investigate the narrative features of the genre, and link this analysis to debates around post-classical narration. Finally, the thesis will interpret the representation of gender in the biker film. This thesis will argue that the biker film should be situated within a continuum of male-oriented genres that involve violent spectacle. It will also make a contribution to the ongoing research on New Hollywood cinema.</p>

Universally speaking: Lost in Translation and polyglot cinema

Conceived from the start as a cultural form with mass, international appeal, cinema bears a fascinating relationship to translation, both real and figurative. From the days of the silents and early talkies to contemporary new Hollywood, this paper explores the nature of this relationship through reference to Lost in Translation and the wider polyglot genre. Revelling in the comic and poetic potential of inter-cultural (mis)communication, Lost in Translation (2004) directs attention towards the messy and mundane realities of translation, thereby exposing the industry’s more usual predilection to ignore or disavow the complexities of language difference. Comparing Lost in Translation to cinematic predecessors such as Le Mépris / Contempt (1963) and 1930s polyglots, this discussion seeks primarily to challenge the myth that the language of cinema is universal.

Role of national cinema in the formation of national identity

This article touches upon the topic of the relationship between national identity and works of art. The author focuses on cinema as one of the most massively consumed and popular forms of art of our time. To uncover this subject matter, the cinema of the USA, USSR and modern Russia are considered. By the example of different movements of various periods of moviemaking in these countries, one can feel the mood and make sense of the views and values of an era in which a picture was created. Thus, films become visual markers of modernity, which allow subsequent generations to find a connection with their past. That, of course, is an important part of the process of forming a national identity. In addition, the author describes how Hollywood conservative cinema of the 40s and 50s differs from the American cinema of the New Hollywood of the 60s and 70s, which was characterized by greater frankness in covering certain topics and problems. Also, the article touches upon how Hollywood returned to traditional values in the eighties during the presidency of Ronald Reagan. Furthermore, as an example of how movies capture the zeitgeist the author cites soviet movies of the Thaw and of the Era of Stagnation. Also, this study uncovers the problem of the insolvency of modern Russian cinema in comparison with the Soviet movie industry in relation to its place in the mass consciousness of Russian people and its cultural significance. The author also writes about how the shortcomings of the state management of the modern Russian industry impede the creation of more films that can affect formation of national identity.

Radio, Memory, and the Past in the Nostalgia Film

Several prominent New Hollywood filmmakers experimented with limiting their soundtracks to ostensibly diegetic source music. In particular, two films associated with a trend of fifties nostalgia use the compiled pop scoring and the medium of radio to articulate complex sensibilities of the past. Both films experiment with the aesthetic flow of radio broadcasting, while adopting the image of the radio signal itself as a technological-aesthetic metaphor for melancholy temporal distance. In The Last Picture Show, radio conveys a sense of entrapment in the film’s world, and a sense of the fragility of the connections linking past and present. In American Graffiti, radio broadcast cultivates a precious, yet melancholy sense of communal identity. In this way, both films articulate a paradoxical attitude toward the past, a nostalgic desire to conjure what has been lost to time, which coexists with an awareness of the impossibility of this recovery outside of imagined experience.

Introduction

In film culture of the late sixties and seventies, often between the cracks of more dominant forms and topics of discourse, we can locate a concern with the historical past as a complex field of imagined experiential presence. This concern was fueled by and found expressive purchase in the era commonly known as the New Hollywood cinema. This “presence” of the past played out not just as cultural allegory, but as a complex dialectic of presence and absence that became tangible in diverse genres and aesthetic sensibilities. These sensibilities were mutually inscribed into broader culture discourses of the sixties and seventies, as well as into the transformational changes of film culture, criticism, theory, and industrial filmmaking. Stylistically, they also become significant to the increasing diversity and eclecticism of film music and the development of the creative category of sound design.