The research question we will attempt to answer in this project is: How can historical conditions in films, as the ones experienced during the Italian Neorealism and the French New Wave, be seen as an inspiration to Dogme95, and how is it expressed in the chosen Dogme films? In this thesis we will discuss how the Italian Neorealism and the French New Wave film movements might have inspired the directors behind Dogme95. We will start by going through and elaborating the three film periods we are analyzing, before moving on to our analysis. The films we have chosen to analyse are, from the Italian Neorealism, Rome - Open City (Roberto Rosselini, 1945) and The Bicycle Thief (Vittorio De Sica, 1948), Breathless (Jean-Luc Godard, 1960) from the French New Wave and The Idiots (Lars von Trier, 1998), The Celebration (Thomas Vinterberg, 1998) and Mifune (Søren Kragh-Jacobsen, 1999) from Dogme95. We will view the films in an historical context and see how the conditions have influenced and restricted the films. Furthermore we will explore whether these have inspired the restrictions in Dogme95. Through an analysis of the films, we will be focusing on the similarities between the films from the different periods through chosen themes and aesthetics. Based on our analyses, our perception is that there are clear parallels between the films from the Italian Neorealism and the French New Wave and the films from Dogme95. The films from the Italian Neorealism and the French New Wave are realistic and are filmed in documentary style, by the use of hand-held cameras and without special effects. These are features that we also found while analyzing the Dogme Films, which leads us to conclude, that the directors behind the Dogme manifesto have drawn their inspiration from the Italian Neorealism and the French New Wave.
|Uddannelser||Basis - Humanistisk Bacheloruddannelse, (Bachelor uddannelse) Basis|
|Udgivelsesdato||17 dec. 2014|
|Vejledere||Katrine Sommer Boysen|
- franske nybølge
- Thomas Vinterberg
- De Sica
- Lars von Trier