The impact of modern Western European cinema on the film industry in 1957-1964. The Berlin Wall in the late fifties and early sixties, among others, created more tensions in Western Europe. But filmmakers revolutionized film to make it more personal and self-aware.
The central metaphor of Ingmar Bergman is the theater. His father's authority as a child kept him buried in a pile of books all day and was locked in a morgue, so death became the biggest theme in his films. Summer with Monica predates his most aesthetically pleasing film, with avant-garde characters and the heroine looking straight into the camera, inspiring Godard and the rest of the New Wave. The Seventh Seal shows the evolution of his thoughts, questioning God.
WinterLight concludes that God is dead. Autobiographical, bold and full of personality. Bergman's confession, while showing people humiliating each other. In Masquerade, he uses film as a method of self-knowledge. The ending film seems to disintegrate, releasing a series of repressed images that burst out through the surface, comical, violent, and disturbingly subconscious images. Cinema is not storytelling, it is a story in itself, which is a major theme of cinematic innovation.
Robert Bresson's central view is that human life is a hell and that man must escape. He wrote: Creation should not be added, but subtracted, and this law should be followed without compromise. He removes everything that is expressive. Like Yasujiro Ozu's films, there is no inner chaos or passionate performance, no actors, no parts, no scene design. The images of "Pickpocket" are incomparably simple and minimally modified, with fifty millimeters of lens, flat light, ordinary clothes, no expression on the man's face, and the composition is extremely ordinary. The donkey featured in Barthathe the Donkey, expressionless, is similar to the protagonist in Pickpocket, stripping away the excessive packaging of the sixties by stripping away the material. His films are about the path to God's mercy. The essence of his narrative is an attempt to represent the invisible, the ineffable, the extraordinary. Bresson also had a great influence on the work of Indian directors in the seventies.
The cinematic world of Jacques Tati is a jigsaw puzzle of scenes and time. He doesn't like storytelling, he prefers vignettes and details. Modernization is rapidly colliding with the old world, and he tries to ridicule modernization with movies. His works are harshly filmed, do not use close-ups, show the panorama of society, and are comedies in customs.
Federico Fellini's film world is the circus. "Kabylia's Night" is the first film to express the characteristics of modernism, and his wife plays the heroine, constantly surpassing herself and changing her style. Eight and a Half is an autobiographical film. Katina is his creative goddess, and he loves improvisation without scripts.
The filmmakers in the front reformed it, and the French New Wave in the back subverted it. Modern European cinema from the late fifties to the sixties became individualized and self-aware in exploring the ambiguities of time and communication.
Agnès Varda's Cleo at Five to Seven, which documents consciousness drifting through the modern city, captures changes in thought and his unpredictability.
Alan René spoke for the first time in Last Year in Marienbad about the important theme of modern life – uncertainty. Jean-Luc Godard is the most attractive figure of the French New Wave and the greatest cinematic terrorist. He likes to use close-ups to separate people from the world. Godard and Truffaut did not see film as something that captured real life, but as part of life.
The love of old movies, the traditional concept of women, etc., can be seen that most New Wave films are almost classical, but the impact is huge.
In Italy in the sixties, cinema became more exciting than ever, society shifted, and workers and peasants poured into the cities to live in apartments.
Pierre Paul Pasolini, who loves the feeling of painting, is a peculiar religious believer, a believer in life, a believer in the mystery of life. His Gospel of Matthew challenged the otherworldly representation of the Virgin Mary, usually in Catholic art, and brought the Virgin Mary to simplicity, simplicity, and simplicity.
Michelangelo Antonioni sees life more abstractly, and his film composition features what it calls on the edge. The composition of Eclipse is eclectic and unrestrained, with the composition being deflected to one side or only half exposed. His long, soothing, semi-abstract shots provide inspiration for Theo de Hungary's Miklos Janso, Bella Tar, and Greek Theo Angelopoulos.