Before I studied poetry, I spent two years studying film; not at a prestigious film school, but at a small college in Liverpool, called South Mersey College. Those were the best two years of my life.
At the college, we watched classic Hollywood films by directors like Howard Hawks, John Ford, Orson Welles, Alfred Hitchcock and William Wyler, alongside European avant-garde films by Jean-Luc Godard, François Truffaut, Sergei Eisenstein and Andrei Tarkovsky. We studied American Direct Cinema through the films of Richard Leacock, D.A. Pennebaker and Albert and David Maysles. And also the experimental filmmaking pioneered by Len Lye and Stan Brakhage, as well as the underground cinema of Andy Warhol and Kenneth Anger. After each screening, we analysed the films’ themes, visual style, editing and historical context.
We also studied movements such as German Expressionism, Film Noir, Italian Neorealism, the French New Wave, Soviet Montage, Constructivist cinema, Surrealism, British Social Realism and New Hollywood. Our reading list included Rudolf Arnheim’s Film as Art, Sergei Eisenstein’s Film Form and The Film Sense and André Bazin’s What Is Cinema?
I was fascinated by the vibrant use of colour in 1940s and ’50s films. Bright, saturated hues made every frame look like a living painting. Music was equally as important to me, producing maybe eighty percent of a film’s emotional impact. At that time, one of my musical muses was Aaron Copland. I had only recently discovered his works, such as Fanfare for the Common Man and the score he composed for the film The Red Pony. Both pieces were life-affirming, and they became a personal soundtrack to my daydreams of the sorts of films I wanted to make. In my mind, I created film sequences, rising and falling with the flow of the music.
Had I known then how cinema would evolve, I might have been less optimistic. The digital revolution has changed everything. Traditional film stock (16 mm, 35 mm, 70 mm) has largely disappeared. Cameras have become lighter, and handheld naturalism dominates the look of films, with available light replacing carefully designed chiaroscuro lighting schemes. And long takes have largely replaced montage. Digital detail is sharper, but it lacks the depth and texture of film. The deliberate use of light, shadow and colour (the visual poetry that once defined films) has given way to bland, uniform imagery. Music, too, has shifted towards ambient textures rather than emotional scores.
Maybe this will change, and film will return as a tactile, expressive medium once digital technology matures. But for now, many contemporary films have no magic. Yet when I hear a Copland score, I can still glimpse the wonder that first drew me to film.
