And just to point out, film movements and new waves are mainly the creation
of journalists and film historians with a few exceptions. (Not a criticism
-- in fact, that's how us distributors use the terms to promote films.) Most
of the time, it's just a number of filmmakers -- and it's a small world so
it happens all the time -- who know each other and have similar backgrounds.
Even then, the New German Cinema had an incredible diversity of
personalities who probably didn't really meld that well.
And ideas about the movements are constantly shifting. Who's better,
Truffaut or Godard? Though not an discussion that keeps me up at nights, is
something that changes over the years. And in a similar vein, Hollywood
directors who died young were traditionally underrated compared to those who
lived into the 1960s and 1970s and got to charm the burgeoning ranks of film
critics and academics. Some of them are just getting their due.
The LA Rebellion (even though Charles Burnett dislikes that term) is getting
a lot of re-evaluation these days and is a fairly hot topic, while the Dogme
95 movement has faded from people's critical attention.
In other words, critics and historians can promote their own ideas of new
and old film movements. It should be very fluid.
Milestone Film & Video
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St. Louis 2009
Screen-L is sponsored by the Telecommunication & Film Dept., the
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