Expanding and Enriching Cinema Knowledge with Eghosa Osula

  As cinephiles, we should always be able to understand that empathy is one of the most important things in our pallets in that it instigates us to express different types of emotions in ways that allow us to be emotionally connected with cinema. No matter what the emotion is, we should constantly express it whenever we watch movies among other forms of storytelling only to really interact to any storytelling form due to empathy. Empathy means to connect to others in a relatable way by putting yourself in other people's shoes as a way to go through what someone else is going through in the process. Empathy is something that should never be taken for granted in cinema and storytelling in general considering that it makes us embrace our humanity without coming across as submissive along with overtly feel-goody whatsoever. Being a cinephile along with having empathy go hand in hand and us as cinephiles should never take it for granted at all. By the time that I began to start developi

  Coming off of films like The Murderer Lives at Number 21 (1942) (his Directorial Debut), Le Corbeau (1943), Quai des Orfevres (1947), Manon (1949) along with the Wages of Fear (1953) (one of my favorite films ever), Henri-Georges Clouzot was growing in reputation only to gain critical and commercial acclaim in the process. He was considered to be one of France's greatest directors at the time due to those string of successes in France. Clouzot originally started off as a screenwriter in the 1930s and by the time he transitioned to be a director in the 1940s, he still continued to write screenplays for his films. He directed and made his first short film called La Terreur des Batignolles from a screenplay from Jacques de Baroncelli, who started off directing silent films in France from the 1910s to the 1930s and transitioned to directing films in America and Italy in the 1940s. The short film was considered by some people to be a real introduction to Clouzot's style of express

  The Motion Picture Production Code may be important in cinema history as a result of restoring moral history after the dominance of the scandalous Pre-Code but among serious cinephiles, it is considered to be well-meaning but absolutely antiquated at the same time. Cinema has come a long way from the once prevalent and ubiquitous censorship of the Code in that Cinema nowadays is growing before our very eyes as filmmaking allows various cast and crew members to make any type of film that they want to make without any type of censorship. The Code is looked at by cinephiles as an example of something that was once ruling the industry with an iron fist that is now seen as dated and as a relic of Hollywood's past. It is understandable why so many cinephiles (especially younger viewers) have their issues with the Code as a result of the censorship that makes some of the movies of the Golden Age of Hollywood seem so dated today due to how they abided too much by the code for the worse.

  Nowadays, in the world of film criticism, film fans tend to gravitate towards those who usually lack film knowledge only to hide their lack of knowledge behind a cinephile costume. The cinephile costume term means that someone pretends to be a cinephile by outwardly having knowledge by fooling people into thinking he/she has knowledge to get attention to boost their popularity only to cause deception. This approach has made a lot of people think that they can placate to the masses by hiding their subpar knowledge behind this false image in order to get so much clout for the sake of being popular by purposely saying things like ignore the critics along with telling others that knowledge is not needed in order to be a cinephile since they think that loving movies is enough to be a cinephile. Being a causal is different than being a cinephile considering that they are two different terms in cinema to where there should be one that is chosen over the other if someone wants to know who th

The New Hollywood Era is truly one of the greatest movements in cinema history because of how it was able to break new ground in terms of truly and honestly reflecting American life in film without being artificial when it comes to tackling serious subjects. Plus, it gave birth to filmmakers like directors, cinematographers, editors, among others who took art seriously as a way to combat studio interference along with political correctness that was ubiquitous and prevalent in the studio controlled Golden Age of Hollywood only to allow studios to let the new crop of filmmakers do what they want to do for the sake of maintaining creative control due to the purpose of creating authentic art. The New Hollywood Era will always be a watershed movement in cinema as a result of its rebellious and subversive nature on filmmaking. After years of success, the studio system era that ran from the silent era to the 1960's was collapsing because of factors like weak box office returns, the popula

  The French New Wave is truly one of the seminal and greatest movements in cinema history. It has paved the way for many directors and filmmakers of all kinds like cinematographers, costume designers, editors, etc... etc. In addition, the French New Wave has created and instigated some of the greatest movies of all time thus establishing itself as a truly significant and ubiquitously iconic movement in cinema of all time. There are a lot of great film movements out there and the French New Wave will always be one of the best ones for real. The French New Wave began as a critical magazine called Cahiers du Cinema, which consisted of future filmmakers like Francois Truffaut, Jean Luc Godard, Eric Rohmer, Jacques Rivette and Claude Chabrol. Andre Bazin was co-founder of Cahiers du Cinema and provided a sense of influence for the New Wave movement. Also, more future filmmakers of the wave like Agnes Varda, Jacques Demy, Chris Marker and Alian Resnais came from the associated Left Bank fil