What some people call an 'art film', others call experimental cinema or art house cinema, alternative or independent or underground film. However they're tagged, art films are, typically, serious cinematic works aimed at a niche market rather than a mass market audience.
Art films:
Art films:
# are made primarily for "aesthetic" reasons rather than commercial profit
# contain unconventional or highly symbolic content
# do not set out to compete with mainstream Hollywood
# seldom obey the rules of "classical narrative" structure
# seldom obey the rules of "classical narrative" structure
# explore the style of 'social realism'
# afford directors a wealth of freedom to express themselves, particularly visually, allowing a director to cultivate a distinctive visual style
# focus on the thoughts and dreams of characters
Anti-Hollywood
Anti-Hollywood
Film scholar David Bordwell claims that "art cinema itself is a film genre with its own distinct conventions." Art films are aimed at small niche market audiences, typically the art-house cinema circuit.
They rarely get the financial backing which permits large production budgets, expensive special effects, costly celebrity actors, or huge advertising campaigns, as are used in wide-release mainstream blockbuster films.
Less is more
Less is more
Art film directors counter this with lesser-known film actors (or even amateur actors) and modest sets to make films which focus much more on developing ideas or exploring new narrative techniques or filmmaking conventions.
Either you get it, or you don't
Either you get it, or you don't
For the art film viewer, a certain degree of experience and knowledge is required to understand or appreciate such films; one mid-1990s art film was called "largely a cerebral experience" which you enjoy "because of what you know about film". This contrasts sharply with mainstream "blockbuster" films, which are geared more towards escapism and pure entertainment.
For promotion, art films rely on the publicity generated from film critics' reviews, discussion of their film by arts columnists, commentators and bloggers, and "word-of-mouth" promotion by audience members.
Questions - research & thinking required!!!
1. Define "aesthetic" in the context of an art film.
2. Quick research task.... explain what is classical narrative structure.
3. In the context of cinema, what is "social realism"?
4. An art film's title is often a giveaway. Based on title alone, which of these films is likely to be an art film? Explain.
Blood of a Poet.
I am Curious (Yellow).
My Own Private Idaho.
Donnie Darko.
Sunrise: A Song of Two Humans.
The 400 Blows.
5. How can viewing a film be a "cerebral" experience?
Hollywood formula
Questions - research & thinking required!!!
1. Define "aesthetic" in the context of an art film.
2. Quick research task.... explain what is classical narrative structure.
3. In the context of cinema, what is "social realism"?
4. An art film's title is often a giveaway. Based on title alone, which of these films is likely to be an art film? Explain.
Blood of a Poet.
I am Curious (Yellow).
My Own Private Idaho.
Donnie Darko.
Sunrise: A Song of Two Humans.
The 400 Blows.
5. How can viewing a film be a "cerebral" experience?
Hollywood formula
Mainstream Hollywood uses a clear narrative form to organize the film into a series of "...cause-and-effect events taking place in space and time", with every scene driving towards a goal.
The plot for mainstream films is driven by a well-defined protagonist, fleshed out with clear characters, and strengthened with "...logic, problem-solving routines, (and) plot structure where there is something at stake."
The film is then tied together with musical soundtracks to cue the appropriate audience emotions, and tight, seamless editing. Mainstream films tend to use a small palette of generic images, plots, verbal expressions, and stereotypical characters.
Art-house formula
Art films deviate from mainstream filmmaking in that they typically deal with a "...loosening of the chain of cause and effect". As well, art films often deal with an inner drama that takes place in a character's psyche, such as psychological issues dealing with individual identity, transgressive sexual or social issues, moral dilemmas, or personal crises.
Art films deviate from mainstream filmmaking in that they typically deal with a "...loosening of the chain of cause and effect". As well, art films often deal with an inner drama that takes place in a character's psyche, such as psychological issues dealing with individual identity, transgressive sexual or social issues, moral dilemmas, or personal crises.
Mainstream films also deal with moral dilemmas or identity crises, but these issues are usually resolved by the film's end. In art films, the dilemmas are probed and investigated in confronting, challenging fashion, but usually with no clear resolution at the end. Protagonists in art films often face doubt or alienation, and the film often depicts their internal dialogue of thoughts, dream sequences and fantasies. Directors often use a depiction of absurd or seemingly meaningless actions to express philosophical or existential viewpoints (ie: What is life? Why am I here? What is my place in the universe?)
In art film, "story" often takes a back seat to character development and exploring ideas through lengthy sequences of dialogue. If an art film has a story, it is usually a drifting sequence of vaguely defined or ambiguous episodes. There may be unexplained gaps in the film, deliberately unclear sequences, or extraneous sequences that are not related to previous scenes, which force the viewer to subjectively make their own interpretation of the film's message.
DECONSTRUCTING THE FORMULA OF A MAINSTREAM HOLLYWOOD FILM
Think of a generic Hollywood film. (Examples: Die Hard, Con Air, The Devil Wears Prada, Raiders of the Lost Ark, The Wedding Singer or think of one yourself.)
Let's prove to ourselves how the formula works.
1. List 2 cause-and-effect events.
2. Name the "space" and "time" the story is set in.
3. What's the end goal in the narrative?
4. Describe the protagonist.... Are any stereotypes or cliches evident?
5. List 3 other stereotypical characters.
6. Think of 2 problems that are solved (or overcome) in the narrative.
7. Think of something that is "at stake" for one of the central characters.
8. What emotions does this film evoke for the audience?
9. What other elements in the film would you describe as generic?
10. Explain how this film can be categorised as "escapism".
Year 12 Major Task - Individual Assessment
Experimental / Art-house / Independent Cinema... whatever you want to call it. You have 4 choices of film-maker.
David Lynch.
Wong Kar-Wai.
Ingmar Bergman.
Stanley Kubrick.
Step 1. Familiarise yourself with each director by visiting the following sites (below) and reading as much as you can. As you research, ideas for your film may begin to form in your mind. You might find that one particular filmmaker begins to appeal to you. That's great! Trust your instincts.
Step 2. Once you decide on your filmmaker, you will need to start compiling a profile of this director, his background, his experiences, his inspirations, his technical approach, creative aspects of his craft, his attitudes/ beliefs about his subject matter etc.... This information will not only inform your film and provide the groundwork for what you create, but also assist you in composing your director's commentary where it will be your task to explain why you did what you did.
Step 3. Consider the following...
1. Themes visited (or frequently revisited)?
2. Political or social factors that influenced his craft?
3. Did he predominantly work alone (maybe aloof), or did he emerge as part of a group of like-minded filmmakers?
4. Was he fond of breaking the conventional "rules" of filmmaking in some way?
5. As a director, what was his relationship like with his actors?
6. How did he relate to the studio bosses or the non-creative industry people such as producers?
7. Was his use of colour / colours (or no colour) something that marked his work as original, unique?
8. Are there any recurring patterns evident in his narratives?
9. Is there a strong focus on 'character' and relationships in his films, or is "location" significant, or perhaps a focus on objects of an inanimate nature?
10. How important is music to his cinematic work? Any other sound aspects (sound effects, silence?)
11. Are there any trademark aspects to his cinematographic style?
12. Is there an identifiable style in the way he edits?
13. Is there any recurring use of symbolism or metaphor?
David Lynch
David Lynch Filmography
Twin Peaks (TV series)
Wild at Heart
Lost Highway
Eraserhead
Mulholland Drive
Blue Velvet
Wong Kar-Wai
http://www.youtube.com/channel/HCl54h0MCxtBs
Wong Kar-Wai Filmography
As Tears Go By
Days of Being Wild
Chungking Express
Ashes of Time
Fallen Angels
Happy Together
In The Mood for Love
2046
My Blueberry Nights
The Grandmaster
Stanley Kubrick
http://www.alt-flix.co.uk/direcgui/kubrick.htm
http://sensesofcinema.com/2002/great-directors/kubrick/
Stanley Kubrick Filmography
The Killing
Spartacus
Lolita
Barry Lyndon
Dr Strangelove
A Clockwork Orange
Full Metal Jacket
Eyes Wide Shut
The Shining
Paths of Glory
2001: A Space Odyssey
Ingmar Bergman
Ingmar Bergman Filmography
1. The Seventh Seal
2. Wild Strawberries
3.
The Magician
4. Through a Glass Darkly
5. The Silence
6. The Virgin Spring
7.
Winter Light
8. Persona
9. Hour of the Wolf
10. Shame
11. The Passion of Anna
