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Film genres

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    New French Extremity (New French Extremism or, informally, New French Extreme) is a term coined by Artforum critic James Quandt for a collection of transgressive films by French directors at the turn of the 21st century. The said filmmakers were also discussed by Jonathan Romney in The Independent.
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    No wave cinema was an underground filmmaking movement that flourished on the Lower East Side of New York City from about 1976 to 1985. Sponsored by (and associated with) the artists group Collaborative Projects, no wave cinema was a stripped-down style of guerrilla filmmaking that emphasized dark edgy mood and unrehearsed immediacy above many other artistic concerns – similar to the parallel no wave music movement in its raw and rapid style.
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    In genre studies, a coming-of-age story is a genre of literature, theatre, film, and video game that focuses on the growth of a protagonist from childhood to adulthood, or "coming of age". Coming-of-age stories tend to emphasize dialogue or internal monologue over action, and are often set in the past. The subjects of coming-of-age stories are typically teenagers. The Bildungsroman is a specific subgenre of coming-of-age story.
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    Soviet parallel cinema is a genre of film and underground cinematic movement that occurred in the Soviet Union in 1970s onwards. The term parallel cinema (known as parallel’noe kino) was first associated with the samizdat films made out of the official Soviet state system. Films from the parallel movement are considered to be avant-garde, non-conventionalist and cinematographically subversive.
  • Lollywood
    Lollywood Topic
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    Lollywood (in Punjabi,Urdu: لالی وُڈ‎ lâli vuḍ) is the oldest film industry of Pakistani cinema, based in Lahore, Punjab, Pakistan. Since 1929, Lahore has been the center of Pakistani cinema, producing films in both the Punjabi and Urdu languages. Since 2007, however, Karachi has largely overtaken Lahore in Urdu film productions. The word "Lollywood" was coined in the summer of 1989 in Glamour magazine, published from Karachi, by gossip columnist Saleem Nasir.
  • Puppet film Topic
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    Puppet film develops on the basis of traditional puppetry. It is in the form of a film that the main characters are puppets. Puppets’ limbs are controlled by people and their mouths usually does not move frequently. The height of a puppet is approximately 20 centimeters and the background is a model which fits the size of the puppet. The film is shot by grid-by-frame photography. Puppet film starts around 1900s. Between 1930s and 1980s, most genres of puppet films are comedy and animation. There are some famous magnum opus such as Thunderbird series and The Adventures of Elmo in Grouchland. After 1980s, many horror puppet films appeared such as Puppet Master: The Littlest Reich. Compared to other films, puppet film focuses more on characters’ movements and the main audiences are children and teenagers. More and more reality elements are added into puppet film in recent years.
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    The Romanian New Wave (Romanian: Noul val românesc) is a genre of realist and often minimalist films made in Romania since the mid-aughts, starting with two award-winning shorts by two Romanian directors, namely Cristi Puiu's Cigarettes and Coffee, which won the Short Film Golden Bear at the 2004 Berlin International Film Festival, and Cătălin Mitulescu's Trafic, which won the Short Film Palme d'Or at the Cannes Film Festival later that same year.
  • Nuevo Cine Mexicano
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    Nuevo Cine Mexicano, also referred to as New Mexican Cinema is a Mexican film movement started in the early 1990s. Filmmakers, critics, and scholars consider Nuevo Cine Mexicano a "rebirth" of Mexican cinema because of the production of higher-quality films. This rebirth led to high international praise as well as box-office success, unseen since the golden age of Mexican cinema of the 1930s to 1960s. The quality of Mexican films suffered in the decades following the golden age due in part to Mexican audiences watching more overseas films, especially Hollywood productions. This resulted in the rise of infamous Mexican genres such as Luchador films, sexicomedias and ultimately the low-budget direct-to-video Mexploitation film.
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    Cinéma du look was a French film movement of the 1980s and 1990s, analysed, for the first time, by French critic Raphaël Bassan in La Revue du Cinéma issue n° 448, May 1989, in which he classified Luc Besson, Jean-Jacques Beineix and Leos Carax as directors of "le look". These directors were said to favor style over substance, spectacle over narrative. It referred to films that had a slick, gorgeous visual style and a focus on young, alienated characters who were said to represent the marginalized youth of François Mitterrand's France. Themes that run through many of their films include doomed love affairs, young people more affiliated to peer groups than families, a cynical view of the police, and the use of scenes in the Paris Métro to symbolise an alternative, underground society. The mixture of 'high' culture, such as the opera music of Diva and Les Amants du Pont-Neuf, and pop culture, for example the references to Batman in Subway, was another key feature.
  • Remodernist film
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    Remodernist film developed in the United States and the United Kingdom in the early 21st century with ideas related to those of the international art movement Stuckism and its manifesto, Remodernism. Key figures are Jesse Richards and Peter Rinaldi.
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