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Lecture

Art Cinema.docx

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Department
Film Studies
Course
Film Studies 1020E
Professor
Janelle Blankenship
Semester
Fall

Description
Art Cinema: 8 ½ Intro to Film  Primarily European  More experimental than Classical Hollywood  A European narrative style in the post WWII area Art Cinema  Crisis in Hollywood filmmaking after 1945  Rise of international co-producers  Crisis in the idea of “progress” after the horrors of World War II/Post-War (anguish of ordinary living)  Sources: o 1920s art film (Bordwell: German Expressionism and French Impressionism) o Literary “modernism” (E.g. stream of consciousness narration)  Approaches something fantastic and dreamlike  Way of recording reality that is highly subjective/highly personal  Different use of narrative; different way of structuring events  Very associative and dreamlike portrayal of the world o John Epstein  Film as a fourth dimension  Slow motion to capture the heightened perception of a sequence  Exaggerated theatrical mise-en-scene  Retreat from exterior reality into a psychological world o Anguished psychological drama of the primary character o Drama of heightened/distorted perception of the characters Hollywood Cinema  Cause and effect logic o Conflict  Resolution  Narrative parallelism  Action through psychologically defined, goal oriented characters (goal- defined trajectory)  Narrative time and space are constructed to represent a cause and effect chain  Film style serves a narrative function (editing, PoV, mise-en-scene, etc.)  According to Bordwell, in Hollywood cinema, the viewer makes meaning through o Verisimilitude (is x plausible?) o Generic appropriateness (is x characteristic of this sort of film) o Compositional Logic (does x advance the story?)  We race or gradually move towards a “goal” as in Stagecoach  Art cinema not goal oriented o Protagonist becomes “unhinged”  Authorial intent: about the creative psyche o Reflexively and creatively giving us a new model for filmmaking Art Cinema  Defines itself against cause and effect  Narrative is organized around pointed “situations”; not external actions but internal psychological insight… Not a race, but a drifting trajectory  Narrative in art cinema is motivated, according to David Bordwell, by two principles: o A)
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