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List of film manifestos

February 20, 2024

There have been a number of manifestos related to film. These propose the author/s feelings and briefing on the how and why of film:

Manifesto Author/s Defining features Example films
Antonioni Manifesta, The Davell Swan Given that Michelangelo Antonioni expresses the maximum cinema data through the most minimal means, and that in cinema, as in architecture, interior and industrial design, less is more, Antonioni is postmodernism's incipient master.[1] "L'Avventura" (The Adventure, 1960)

"Il Deserto Rosso" (The Red Desert, 1964)

Dogme 95 Lars von Trier, Thomas Vinterberg, Kristian Levring, and Søren Kragh-Jacobsen The goal of the Dogme collective is to purify filmmaking by refusing expensive and spectacular special effects, postproduction modifications and other gimmicks. The emphasis on purity forces the filmmakers to focus on the actual story and on the actors' performances. The Celebration (Original title "Festen", Denmark, 1998)

The Idiots (Original title "Idioterne", Denmark, 1998)

Futurist Cinema Marinetti, Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla, Remo Chiti Aimed to, "...free the cinema as an expressive medium in order to make it the ideal instrument of a new art, immensely vaster and lighter than all the existing arts."[2]
Free Cinema Lorenza Mazzetti, Lindsay Anderson, Tony Richardson, Karel Reisz Was about taking cameras out onto the streets to try to capture a naturalistic and unscripted look.[3] O Dreamland by Lindsay Anderson (1953) [4]
Hitchcock Manifesto, The The HitchCult Collective "Alfred Hitchcock is not the Master of Suspense," according to this manifesto published in May 2013 in CineSource Magazine [5] "but simply The Master." Penned largely by Davell Swan, who did a four-part analysis of The Master's "Vertigo" one year before England's Sight and Sound magazine proclaimed it the greatest film of all time,[6] he goes on to note, "Although The Master's investigation of evil... accesses the romantic paradigm through its underbelly... about the final triumph of good, The Master remained romantic." "Shadow of a Doubt", Alfred Hitchcock (Hollywood, California, 1943)

"Spellbound", Alfred Hitchcock (Hollywood, California, 1945) "Dial M for Murder", Alfred Hitchcock (London, England, 1954) [7]

Oakland Stammer WoManifesto, The Doniphan Blair The Film Stammer movement moves, as it were, that we drop all genre and technical as well as racial and gender structures, and dive full-throatedly into filmmaking for the postmodern era.[8] "Everything Strange and New", Frazer Bradshaw (Oakland, California, 2009)[9]
On the Art of the Cinema Kim Jong-il Juche oriented cinema conforms to aesthetic guidelines delineated by the state. Artistic creation exists only to serve the state. The Five Guerrilla Brothers, The Flower Girl, The Sea of Blood, We Are the Happiest[10]
Pluginmanifesto Ana Kronschnabl The pluginmanifesto is a document written by Ana Kronschnabl that looks at the challenges for filmmaking for the internet and other reduced bandwidth platforms, such as mobile phones, PDAs and PlayStation Portables. 'Distance Over Time' - [11]
Revolución Rasquache: A Manifesto for the Guerrilla Filmmaker Rafael Flores and the Green Eyed Media Collective These filmmakers, largely of Latino heritage, "Challenge our likeminded 'rasquachistas' to revive their own cultural and aesthetic traditions, to invent new forms of communication and to combat oppressive political agendas in Hollywood".[12] In their stripped down style and budgeting, Rasquachistas homage Dogma. In his astute, academic article on the subject, "Chicano Third Cinema", Flores explains why this is important: "Chicano filmmakers endorsed these revolutionary concepts and dedicated themselves to fight for fundamental changes in the power and organizational structures of the film industry... [but] this political stance and call for autonomy from Hollywood was abandoned as Chicano filmmakers became less concerned with independent filmmaking and focused more on trying to penetrate commercial mainstream venues; in particular, television."[13] "Raices de Sangre", Jesus Trevino (Los Angeles, California, 1978)

"El Mariachi", Robert Rodriguez (Texas, 1992)

Problems of Form and Content in Revolutionary Cinema Jorge Sanjinés In this Third Cinema manifesto, Sanjinés challenges Hollywood's auteur cinema and instead suggests a different style of filmmaking, using a collective protagonist instead of an individual. This new style of Cinema is referred to as a way of spreading revolutionary ideas by giving voice to those who typically are under-represented: "The peasants used the filming to break the silence of oppression and speak openly". A Marxist, Sanjinés repeatedly makes clear the importance of taking this revolutionary stance on cinema. Yawar Mallku, or Blood of the Condor, Jorge Sanjinés (Bolivia, 1969),

El coraje del pueblo, or The Courage of the People, Jorge Sanjinés (Bolivia, 1971),

El enemigo principal, or The Principal Enemy, Jorge Sanjinés (Peru, 1974)

yGroup Manifesto, The The yGroup, Rob Nilsson Using the workshopping method of Direct Action developed by Rob Nilsson [14] in the mid-'80s, the yGroup brought a largely-improvised film style to the people and the streets, the rough and tumble Tenderloin neighborhood in San Francisco, where the class met, almost every Tuesday for almost fourteen years. According to the manifesto, written in 1985 but signed August 12, 1998: "There can be no cinema outside the artist’s inner life... The collaboration of artists... writers, directors, actors, cinematographers and craft people of all kinds is given shape and energy by the kinetic release of the inner fountain... Whereas the pale and anemic truth that ‘all art is political’ has spawned legions of nodding heads in the exclusive pews of race, gender and class... the living truth is that there can be no art without vision... [o]riginating in shamanic practice, in the ‘wild surmises’ of poets and sages." The manifesto concludes with: "We pledge ourselves as individuals to the communal circle of risk and protection where we reveal our secrets, power up our energy, open flesh and intuitive mind to received vision... to live with passion and to sing at the top of our lungs."[15] "Chalk", 1996

The eight other "9 @ Night" Films (San Francisco, 2000–09)

Notes edit

  1. ^ "The Antonioni Manifesta", CineSource Magazine, 5/7/2013
  2. ^ The Futurist Cinema - unknown.nu
  3. ^
  4. ^
  5. ^ "The Hitchcock Manifesto", CineSource Magazine, 5/7/2013
  6. ^ "Vertigo IV: Doom Or Happiness", CineSource Magazine, 9/16/2012
  7. ^ "Vertigo IV: Doom Or Happiness", CineSource Magazine, 9/16/2012
  8. ^ "Oakland Stammer Manifesto", CineSource Magazine, 5/7/2113
  9. ^ "Everything Strange and New", Frazer Bradshaw (Oakland, California, 2009)
  10. ^ Mallett, Whitney (March 14, 2014). "Hollywood North Korea: How to Make Movies the Kim Jong-il Way". Hazlitt Magazine. Penguin Random House Canada. Retrieved August 11, 2015.
  11. ^
  12. ^ "Revolución Rasquache: A Manifesto for the Guerilla Filmmaker", CineSource Magazine, 4/24/2014
  13. ^ "Towards a Rasquache Cinema: Chicano 3rd Cinema", CineSource Magazine, 4/24/2014
  14. ^ "Rob Nilsson: Enfant Terrible, Old Master of the Indie", cineSOURCE magazine, 12/18/2018
  15. ^ "The yGroup Manifesta", CineSource Magazine, 9/16/2016

See also edit

February 20, 2024
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There have been a number of manifestos related to film These propose the author s feelings and briefing on the how and why of film Manifesto Author s Defining features Example filmsAntonioni Manifesta The Davell Swan Given that Michelangelo Antonioni expresses the maximum cinema data through the most minimal means and that in cinema as in architecture interior and industrial design less is more Antonioni is postmodernism s incipient master 1 L Avventura The Adventure 1960 Il Deserto Rosso The Red Desert 1964 Dogme 95 Lars von Trier Thomas Vinterberg Kristian Levring and Soren Kragh Jacobsen The goal of the Dogme collective is to purify filmmaking by refusing expensive and spectacular special effects postproduction modifications and other gimmicks The emphasis on purity forces the filmmakers to focus on the actual story and on the actors performances The Celebration Original title Festen Denmark 1998 The Idiots Original title Idioterne Denmark 1998 Futurist Cinema Marinetti Bruno Corra Emilio Settimelli Arnaldo Ginna Giacomo Balla Remo Chiti Aimed to free the cinema as an expressive medium in order to make it the ideal instrument of a new art immensely vaster and lighter than all the existing arts 2 Free Cinema Lorenza Mazzetti Lindsay Anderson Tony Richardson Karel Reisz Was about taking cameras out onto the streets to try to capture a naturalistic and unscripted look 3 O Dreamland by Lindsay Anderson 1953 4 Hitchcock Manifesto The The HitchCult Collective Alfred Hitchcock is not the Master of Suspense according to this manifesto published in May 2013 in CineSource Magazine 5 but simply The Master Penned largely by Davell Swan who did a four part analysis of The Master s Vertigo one year before England s Sight and Sound magazine proclaimed it the greatest film of all time 6 he goes on to note Although The Master s investigation of evil accesses the romantic paradigm through its underbelly about the final triumph of good The Master remained romantic Shadow of a Doubt Alfred Hitchcock Hollywood California 1943 Spellbound Alfred Hitchcock Hollywood California 1945 Dial M for Murder Alfred Hitchcock London England 1954 7 Oakland Stammer WoManifesto The Doniphan Blair The Film Stammer movement moves as it were that we drop all genre and technical as well as racial and gender structures and dive full throatedly into filmmaking for the postmodern era 8 Everything Strange and New Frazer Bradshaw Oakland California 2009 9 On the Art of the Cinema Kim Jong il Juche oriented cinema conforms to aesthetic guidelines delineated by the state Artistic creation exists only to serve the state The Five Guerrilla Brothers The Flower Girl The Sea of Blood We Are the Happiest 10 Pluginmanifesto Ana Kronschnabl The pluginmanifesto is a document written by Ana Kronschnabl that looks at the challenges for filmmaking for the internet and other reduced bandwidth platforms such as mobile phones PDAs and PlayStation Portables Distance Over Time 11 Revolucion Rasquache A Manifesto for the Guerrilla Filmmaker Rafael Flores and the Green Eyed Media Collective These filmmakers largely of Latino heritage Challenge our likeminded rasquachistas to revive their own cultural and aesthetic traditions to invent new forms of communication and to combat oppressive political agendas in Hollywood 12 In their stripped down style and budgeting Rasquachistas homage Dogma In his astute academic article on the subject Chicano Third Cinema Flores explains why this is important Chicano filmmakers endorsed these revolutionary concepts and dedicated themselves to fight for fundamental changes in the power and organizational structures of the film industry but this political stance and call for autonomy from Hollywood was abandoned as Chicano filmmakers became less concerned with independent filmmaking and focused more on trying to penetrate commercial mainstream venues in particular television 13 Raices de Sangre Jesus Trevino Los Angeles California 1978 El Mariachi Robert Rodriguez Texas 1992 Problems of Form and Content in Revolutionary Cinema Jorge Sanjines In this Third Cinema manifesto Sanjines challenges Hollywood s auteur cinema and instead suggests a different style of filmmaking using a collective protagonist instead of an individual This new style of Cinema is referred to as a way of spreading revolutionary ideas by giving voice to those who typically are under represented The peasants used the filming to break the silence of oppression and speak openly A Marxist Sanjines repeatedly makes clear the importance of taking this revolutionary stance on cinema Yawar Mallku or Blood of the Condor Jorge Sanjines Bolivia 1969 El coraje del pueblo or The Courage of the People Jorge Sanjines Bolivia 1971 El enemigo principal or The Principal Enemy Jorge Sanjines Peru 1974 yGroup Manifesto The The yGroup Rob Nilsson Using the workshopping method of Direct Action developed by Rob Nilsson 14 in the mid 80s the yGroup brought a largely improvised film style to the people and the streets the rough and tumble Tenderloin neighborhood in San Francisco where the class met almost every Tuesday for almost fourteen years According to the manifesto written in 1985 but signed August 12 1998 There can be no cinema outside the artist s inner life The collaboration of artists writers directors actors cinematographers and craft people of all kinds is given shape and energy by the kinetic release of the inner fountain Whereas the pale and anemic truth that all art is political has spawned legions of nodding heads in the exclusive pews of race gender and class the living truth is that there can be no art without vision o riginating in shamanic practice in the wild surmises of poets and sages The manifesto concludes with We pledge ourselves as individuals to the communal circle of risk and protection where we reveal our secrets power up our energy open flesh and intuitive mind to received vision to live with passion and to sing at the top of our lungs 15 Chalk 1996 The eight other 9 Night Films San Francisco 2000 09 Notes edit The Antonioni Manifesta CineSource Magazine 5 7 2013 The Futurist Cinema unknown nu BFI BFI The Hitchcock Manifesto CineSource Magazine 5 7 2013 Vertigo IV Doom Or Happiness CineSource Magazine 9 16 2012 Vertigo IV Doom Or Happiness CineSource Magazine 9 16 2012 Oakland Stammer Manifesto CineSource Magazine 5 7 2113 Everything Strange and New Frazer Bradshaw Oakland California 2009 Mallett Whitney March 14 2014 Hollywood North Korea How to Make Movies the Kim Jong il Way Hazlitt Magazine Penguin Random House Canada Retrieved August 11 2015 Distance Over Time Revolucion Rasquache A Manifesto for the Guerilla Filmmaker CineSource Magazine 4 24 2014 Towards a Rasquache Cinema Chicano 3rd Cinema CineSource Magazine 4 24 2014 Rob Nilsson Enfant Terrible Old Master of the Indie cineSOURCE magazine 12 18 2018 The yGroup Manifesta CineSource Magazine 9 16 2016See also edit nbsp Film portalPostmodernist film Vulgar auteurism Film theory Retrieved from https en wikipedia org w index php title List of film manifestos amp oldid 1076456875, wikipedia, wiki, book, books, library,

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