(1981). Art cinema as institution, Screen, 22(1), 11-39. In Art Cinema as Institution, Steve Neale outlines the role of Art Cinema in the attempts made by various European countries both as a means to challenge ‘American domination of their indigenous markets in film” (p.11), and to further develop a film culture of their own. Neale theorises that a general pattern of the history of Art Cinema within the French, German and Italian film industries, follows an early period in which the cinema appealed
– Summary Chapter 8 – Modes of Screen Reality Pages 289-325 Key Outcomes • Explain the basic modes of screen reality. • Describe the principles of narrative, character behavior, and audiovisual design that operate in each mode of screen reality. • Differentiate ordinary fictional realism, historical realism, documentary realism, and fictional documentary realism. • Distinguish two modes of cinematic self-reflexivity. • Explain why multiple modes of screen reality are
Since the advent of cinema, art critics have noted that cinema is simultaneously unique but similar to other arts. For instance, film scholar Ricciotto Canudo praised cinema for being a “superb conciliation of the Rhythms of Space and the Rhythms of Time” (25). As a result of cinema’s wide variety of elements, different authors and directors have varying views on what its unique resources and possibilities are and how they should be showcased. While Gunning, Dulac, and Clair all primarily agree that
essayist, "medium specificity holds that ‘the unique and proper area of competence’ for a form of art matches the ability of an artist to manipulate those features that are ‘unique to nature’ of a particular medium." It implies that if the notion that the medium consists to bring artwork into life is accomplished, then the artwork is said to be successful. Medium specificity refers to unique qualities of films, compared to other mediums of artistic expressions; for example, a drama, stage play, theater
beginning of film filmmakers were using the platform to tell people stories, so that people could go be entertained and lose themselves in the experience of seeing the film. Though this form of filmmaking was entertaining for most people, some filmmakers wanted to break this tradition and expand filmmaking into a completely different way. Instead of making the same old narrative films, like classical Hollywood, they want to make more abstract and complex films, they wanted to make films as more of
core questions that "frame the essential attributes of cinema" and why are they important to consider in film studies? (6 points) 1) How do movies express meaning? It is important to consider in film studies because the basic tools of filmmaking help organize design of a film, and the filmmakers are able to express a range of meanings. 2) How do viewers understand film? It is important to consider in film studies because viewers understand film by applying different aspects of their real-life visual
that “the heterogeneity of art cinema makes a mockery of the attempts that have been made to treat it as a distinct genre”, I felt it important to choose readings that I felt tried to deal with the elements of art cinema in a wider sense as opposed to focusing solely on a particular film/director or country. With this in mind the readings I found most apt for this task were, “Art Cinema” by Geoffrey Nowell-Smith whose essay the topic arose from, “The Art Cinema as Mode of Film Practice” by David Bordwell
“Character” to Italian for Beginners Art films are different from mainstream films in many aspects including acting, plot, and setting. Art filmmakers use different techniques to distinguish their films from mainstream films. The movement away from mainstream filmmaking occurred through the creation of the Dogma Manifesto. Dogma 95 was a set of rules for film production that forced filmmakers to innovate through new methods of filmmaking. One such film created according to the rules of Dogma
Film 1B03 - T08 Michelangelo Antonioni was an acclaimed Italian film director, revered for his contributions to the discipline of cinema. In many ways, Michelangelo Antonioni has revolutionized the realm of art cinema and is responsible for the foundations that the style now rests upon. One of his most influential films was titled Blow Up. In his first English language film, Antonioni examines themes of perception and reality, especially in regard to society and the individual. This film has
the New: Feminism and Film History, brings out the link between historical research and feminist film criticism. Patrice Petro investigates how the German cinema, mechanisms of modernism and feminist film theory have evolved. She explains the directions in which they are headed. Petro raises a few relevant concerns such as: roles of television and other media play in film studies; the place of feminist film theory in our conceptions of film history and the status of German film theory which is situated