What is the state of the film industry around the world after filmmaking went global in the 1960s?
Starting from Eastern Europe, Polish director Andrei Vajda's Ashes and Diamonds shows the ruins of post-war Warsaw, full of symbols of the world being overturned, hiding the meaning in various symbols. Roman Polanski's "Water Knife" is a representative of the claustrophobic atmosphere of the film, concerned with human relations, but also reprimanded by society for his detachment from society.
The hand of the former Czechoslovak Yri Kaente as a cartoon was given a new symbolic meaning, which went beyond the concept of simple puppetry. Milos Foreman saw life as a comedy, even absurd, and even more unadorned in Firefighter's Ball. Vera Ketilova's Daisies is very modern.
Hungarian director Mikros Jansso's Moving Shots in Red and White create a tense, suffocating feeling. He made the camera feel distance and did not shoot close-ups, influencing the Hungarian director Beira Tal.
The essence of the work of the former Soviet director Tarkovsky lies in the fact that in an increasingly materialized society, he shoots something that is materialized, about the human soul and transcendence. His films reflect the human spirit, sublimating from reality and leading to the "path of purity" at the end. His major works include Mirror (1975), Stalker (1979), and Nostalgia (1983). Sergei Parajanov's Shadow of the Forgotten Ancestors camera heightless of the human eye creates a magical and personalized visual world that is avant-garde, bold, sexy and personal. Mikhail Karatozov's "I Am Cuba" uses wide-angle lenses, handheld shooting, slow motion, and bold moving shots, which is undoubtedly a challenge to tradition.
The modernist cinema of the sixties exhibited many dimensions, as an attempt at personalization, self-awareness, comic effects, and spiritual exploration. Japanese modernism, on the other hand, is characterized by anger and rage. Nagisa Oshima's Shonen shows the cynicism and greed of modern Japan. Masahira Imamura's "Insects of Japan" uses insects as a metaphor for human beings struggling in harsh environments. These are modernist films created after Japan experienced the trauma and humiliation of war.
The Sad Fallacy of Lyvik Gatak of India is characterized by the sublimation of emotions, not only about personal emotions, but also about historical emotions. The family of "Clouds Obscuring the Stars" is divided by history, and the bold use of story sounds. Marnie Caule's "Rough Tea And Light Rice" experimental film.
In Brazil, There is Glaubel Rosa's "Black God and White Devil", which blends the style of innovative cinema with the fierce anti-colonial ideas.
Iranian female director Ferro Filok Hazadeh's "Black House" shoots a group of lepers, showing the sincerity of the film and the attempt at a super simple depiction.
The Black Girl of Usman Semban in Africa embodies the concern for the working people and their dignity.
Britain was naturalistic during this period, with major works such as Karel Reitz's Saturday Night and Sunday Morning, which uses black-and-white shots, using real street and natural lighting; Ken Lodge's The Eagle and the Boy; and Richard Lester's A Busy Night.
In hitchcock's "Horror Story" in the bathroom murder, 45 seconds use 70 camera angles, revolutionizing the traditional way of expressing horror. Mike Nichols' Who's Afraid of Virginia Wolfe changed the visual landscape of Hollywood movies, using black colors, dirty makeup, and harsh light. Haskell Wexler's Cold Media pushes the relationship between television documentaries and American feature films to the extreme. Dennis Hopper's "Runaway Rider" Biker Party film is an inter-epoch road movie that captures the carefreeness of the hippie era with messy editing. Kubrick's "2001: A Space Odyssey" uses classic editing and excellent special effects to create a philosophical mood.
During this period, filmmaking went global and developed to varying degrees in various regions. In areas where the film industry developed earlier, such as the United Kingdom and the United States, grassroots filmmakers challenged to varying degrees the reality that films were made by elites and colonizers.