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Screening ModernismEuropean Art Cinema, 1950–1980$
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András Bálint Kovács

Print publication date: 2008

Print ISBN-13: 9780226451633

Published to Chicago Scholarship Online: February 2013

DOI: 10.7208/chicago/9780226451664.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 27 May 2022

The Year 1966

The Year 1966

(p.338) :18: The Year 1966
Screening Modernism

András Bálint Kovács

University of Chicago Press

The year 1966 was an important year in the history of modern cinema because it represents simultaneously a summit and a turning point. It was a summit because many of the most important films of modernism appeared in the period 1965–1966, and a turning point because many new trends or new periods started after this year. All the important filmmaking countries made their modernist turn by 1965, or at least attempts were made in this direction, such as in the case of West Germany. The second wave of modernist directors making their debuts before 1963 were already through their second films, while the first wave of modern directors were already regarded as “classical” masters. The filmmaker-auteur had achieved total autonomy over the film, and yet he remained alone. It was just this feeling of loneliness that provided the productive force to push on. The loneliness of the filmmaker-auteur appears as the central topic in three major films produced in 1966 by three great modern auteurs: Ingmar Bergman's Persona, Andrei Tarkovsky's Andrei Rublev, and Michelangelo Antonioni's Blow-Up.

Keywords:   modern cinema, modernism, 1966, Andrei Tarkovsky, Michelangelo Antonioni, auteurs, Ingmar Bergman, Blow-Up, Andrei Rublev, Persona

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