Film history in the context of "Ottomar Anschütz"

Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. Film theory is not to be confused with general film criticism, or film history, though these three disciplines interrelate. Although some branches of film theory are derived from linguistics and literary theory, it also originated and overlaps with the philosophy of film.

Helene Bertha Amalie "Leni" Riefenstahl (German: [ˈleːniː ˈʁiːfn̩ʃtaːl] ; 22 August 1902 – 8 September 2003) was a German filmmaker, photographer, and actress. She is considered one of the most controversial personalities in film history. Regarded by many critics as an "innovative filmmaker and creative aesthete", she is also criticized for her works in the service of propaganda during the Nazi era.

A talented swimmer and an artist, Riefenstahl became interested in dancing during her childhood, taking lessons and performing across all Europe. After seeing a promotional poster for the 1924 film Mountain of Destiny, she was inspired to move into acting and between 1925 and 1929 starred in five successful motion pictures. Riefenstahl became one of the few women in Germany to direct a film during the Weimar era when, in 1932, she decided to try directing with her own film, The Blue Light.

A film school is an educational institution dedicated to teaching aspects of filmmaking, including such subjects as film production, film theory, digital media production, and screenwriting. Film history courses and hands-on technical training are usually incorporated into most film school curricula. Technical training may include instruction in the use and operation of cameras, lighting equipment, film or video editing equipment and software, and other relevant equipment. Film schools may also include courses and training in such subjects as television production, broadcasting, audio engineering, and animation.

Jean-Luc Godard (UK: /ˈɡɒdɑː/ GOD-ar, US: /ɡoʊˈdɑːr/ goh-DAR; French: [ʒɑ̃ lyk ɡɔdaʁ]; 3 December 1930 – 13 September 2022) was a French and Swiss film director, screenwriter, and film critic. He rose to prominence as a pioneer of the French New Wave film movement of the 1960s, alongside such filmmakers as François Truffaut, Agnès Varda, Éric Rohmer and Jacques Demy. He was arguably the most influential French filmmaker of the post-war era. According to AllMovie, his work "revolutionized the motion picture form" through its experimentation with narrative, continuity, sound, and camerawork.

During his early career as a film critic for Cahiers du Cinéma, Godard criticized mainstream French cinema's "Tradition of Quality" and championed Hollywood directors like Alfred Hitchcock and Howard Hawks. In response, he and like-minded critics began to make their own films, challenging the conventions of traditional Hollywood in addition to French cinema. Godard first received global acclaim for Breathless (1960), a milestone in the New Wave movement. His work makes use of frequent homages and references to film history, and often expressed his political views; he was an avid reader of existentialism and Marxist philosophy, and in 1969 formed the Dziga Vertov Group with other radical filmmakers to promote political works. After the New Wave, his politics were less radical, and his later films came to be about human conflict and artistic representation "from a humanist rather than Marxist perspective." He explained that "As a critic, I thought of myself as a film-maker. Today I still think of myself as a critic, and in a sense I am, more than ever before. Instead of writing criticism, I make a film, but the critical dimension is subsumed."