Reaserch into Short Films

In 1950s-era the auteur theory often reflects director's personal creative vision. Auteur theory is when a film reflects the director’s personal creative vision as if he were the primary "auteur". The director acts almost like the author's creative voice, distinctive enough to shine through all kinds of studio interference. In some cases, film producers are considered to have a similar "auteur" role for films that they have produced. You will often spot similarities in the films of one director for example, the roles of female characters or even something as simple as the type of genre.

Cinéma vérité means "truthful cinema" it is a style of documentary filmmaking which combines naturalistic techniques using cinematic devices of editing and camerawork, staged set-ups, and the use of the camera to provoke subjects. It is also known for taking a provocative stance toward its topics or intended subject. There are subtle yet important differences among these terms. Direct Cinema is largely concerned with the recording of events (like a documentary) in which the subject and audience become unaware of the camera's presence.

Avant-Garde means "advance guard" or "vanguard". This term usually refers to people or works that are experimental or innovative, particularly with respect to art, culture, and politics. Experimental film or experimental cinema describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking. While "experimental" covers a wide range of practice, an "experimental film" is often characterized by the absence of linear narrative, the use of various abstracting techniques (out of focus, painting or scratching on film, rapid editing), the use of asynchronous (non-diegetic) sound or even the absence of any sound track.

Film noir is a cinematic term often used to describe stylish Hollywood crime dramas, Hollywood's classic film noir period is generally regarded as stretching from the early 1940s to the late 1950s. Film noir of this era is associated with a low-key black-and-white visual style that has roots in German Expressionist cinematography. Many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Depression.

The New Wave (French: La Nouvelle Vague) was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s, influenced by Italian Neorealism and classical Hollywood cinema. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm and is an example of European art cinema. The movies featured unprecedented methods of expression, such as long tracking shots (like the famous traffic jam sequence in Godard's 1967 film Week End). Also, these movies featured existential themes, such as stressing the individual and the acceptance of the absurdity of human existence.
Many of the French New Wave films were produced on tight budgets; often shot in a friend's apartment or yard, using the director's friends as the cast and crew. Directors were also forced to improvise with equipment (for example, using a shopping cart for tracking shots). The cost of film was also a major concern; thus, efforts to save film turned into stylistic innovations.