The many debates about art cinema versus classical cinema have been going around for a while. The mainstream Hollywood classical film and the art cinema are frequently presented as opposites. In one, the style of the film is bland, while the other seeks to center its focus on the visual becoming central as narrative unity. Throughout the movie directed by Stanley Kubrick called 2001: A Space Odyssey, we see that this film can be classified as an art film. On the other hand, it can also be seen as classical film. Even though these two are the complete opposite and they contradict themselves, they are both apparent in the film. The portrayal of art cinema is to some extent accurate when considering the time period of this film. Art film was first introduced to the American film industry during the period of time when this film came out. Art cinema utilizes its own set of artistic expression. Hollywood classical films on the other hand, are at odds with the artistic concept, and are considered to be mainstream. When we look at Classical films, we think of the basic Hollywood movie where there is a beginning, middle and end, and the whole movie comes together at the end, with a little bit of romance. In this specific movie, the audience is faced with a confusing dilemma of choosing whether this movie is an art film or a classical film. Most even think it has a documentary approach, but what makes this movie even more successful and even more entertaining, is that it is both art cinema and classical cinema. During this film, the first thing noticed that classified this film as an art film was the very first scene, when the music is playing and the earth slowly rises with the sun in the background. This goes on for about 3 minutes ... ... middle of paper ... ...lm. With the director’s use of special effects, this proves that he had an artistic way of showing the film, as well as his use of ambiguous scenes and sequences that were provided in the film. By making it a classical cinema film, the Kubrick did a good job in proving the realism of space and all, as well as using the film order to make the movie in order. By making the film both art and classical cinema, this just makes the movie even better and the director more smarter for being able to do this in one movie. Works Cited 2001, a Space Odyssey. Dir. Stanley Kubrick. Prod. Stanley Kubrick. By Stanley Kubrick, Arthur C. Clarke, Geoffrey Unsworth, and Ray Lovejoy. Perf. Keir Dullea, Gary Lockwood, and William Sylvester. Metro-Goldwyn-Mayer, 1968. David Bordwell and Kristin Thompson. Film Art: An Introduction. 10th ed. New York: McGraw-Hill Inc., 2012. (BT)
Kubrick was obsessed, around the 1950’s, with Sci-Fi hits one after the other, it helped this genre evolve into something bigger. Kubrick believed that this genre had the future of being something else and the spectators have never seen before. He wanted to change the way we watch movies all together. Kubrick started talking about a new project, that when it became to a reality, he placed a temporary title of “The Conquest of Space”. As always, he started to read all types of Sci-Fi books that he could come across with, to find interesting stories. Someone had recommended him to speak with Arthur C. Clarke.
Dr. Strangelove (1964), an adaptation of Peter Bryant’s novel Red Alert, although still bearing the usual traits of a Kubrick film, is something of a departure for him in terms of editing and spatial strategies. The film’s run-time more or less corresponds with the fictional or represented time in the story. This direct correspondence between fictional and real time adds to the sense of temporal compression induced by the film’s insistent editing patterns. Although Dr. Strangelove employs many long takes, it contains the shortest average-shot-length of any Kubrick film. The film consists of roughly 700 shots and has a run time of 94 minutes for an average-shot-length of 8 seconds. Despite the rather short average-shot-length, Dr. Strangelove still resorts to crucial long takes to slow down the rapid momentum of the story (Falsetto, 35).
These days more and more audience like to see their beloved actors and actresses portray superhero or heroine figure in spandex suit blasting laser beam from their eyes, turn into fire then fly away to outer space, or even a scientist who turn into a huge, green, car-throwing, head-smashing monster with indestructible pants when he transforms. But not small amount audience like films with classical-antiquity geographical and timeline set such as Ben-Hur, 300, Spartacus, etc. Antiquity and modernity always be an important part in filmmaking, whether in its screenplay, set design or character design. In some movies these aspect can be shown separately or combined in sort of a new way in filmmaking.
Even aside from the ambiguity of what is real within the text of the film, Black Swan clearly presents imagery that goes beyond what is seen and experienced in our world. Based on Arnheim’s perspective, Black Swan is art because it experiments with the forms of color, sound, framing, and with editing of time and space. Application of his theories illuminates the ways in which these aspects of film effect viewers’ process of making sense of reality, and how that interpretive process can be intentionally altered. In this respect, any filmmaker who uses film’s formal elements to create and effectively communicate meaning over and above simply conveying what was in front of the camera at the time can be said to be creating art.
Bordwell David and Thompson, Kristen. Film Art: An Introduction. 8th ed. New York: McGraw-Hill, 2008.
After listening to all four movements of Beethoven’s Symphony No. 5 in C minor, I have suddenly been awakened to the tremendous influence that the Classical Form of music has had on modern day works, especially in the area of the film industry which it is used to create drama, tension, and joy. History owes a debt of gratitude to composers such as Ludwig van Beethoven, who build upon the legacy of pioneers such as Joseph Haydn and Wolfgang Amadeus Mozart to create his own unique blend of symphonic compositions which will be revered throughout generations because of their continued appeal to the
The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more enjoyable. The stylistic film form includes camera movements, editing, sound, mise-en-scene and props.
Classical Hollywood movies are important to the film making. They have set a guide and standards to be followed by filmmakers to come. Making films is not only a business but an art. It reflects the directors and writers imagination of what the film should be. Classical Hollywood films encompass many formal elements. One such film that encompasses these elements is the film Casablanca. IT is a classical Hollywood film because it uses the formal elements in a way to convey its message and has been critically acclaimed for generations.
This same approach can be seen with the music, which draws on our uneasiness with dead noise throughout the movie. The film creates its effects essentially out of visuals and music and lack thereof. This film is not for everyone, but if you're the type who spends casual time pondering humankind's destiny, this is a must see. In the end, this film, and its music, is inspiring, meditative, and an almost a spiritual experience. After watching it nearly ten years later, it has still not dated; and I hope it never does.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
The film is very art house as it has many scenes which are unreal but
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
We see distinctive dialogue in all of Kubrick’s films such as the NASA jargon in 2001: A Space Odyssey, the Nadsat argot (Russian slang) in A Clockwork Orange, the drill sergeant's rants in Full Metal Jacket and some improvised dialogue in Dr. Strangelove. Overall, Kubrick’s combination of one-point perspective, realistic lighting, and distinctive dialogue creates a simultaneous “poiesis” for the audience. Poesis, according to Philp Kuberski, is “an integral overlay of imagery....speech—that exceeds rational exegesis or paraphrase. It is the illumination that Kubrick aimed for in his films” (11). Therefore, Kubrick’s films are hard to digest at first because of their complex subject matter. Films like 2001: A Space Odyssey, A Clockwork Orange, and The Shining were perceived as enigmatic ones for their time, yet they gained a cult following and became part of popular culture. In Kubrick’s film adaptation of Anthony Burgess’s A Clockwork Orange, the different locations in the movie such as “The Korova Milk Bar”, Alex’s bedroom, the police interrogation room, and the changing room at the prison all have a similar bright lighting scheme. The lighting schemes together with the theatrical settings like the stage at the Ludovico Center where Alex’s new “nature” is demonstrated to the press suggests the artificial nature of this futuristic setting as there is an absence of a natural lighting source in the film like the moon or sun. Moreover, in the dystopian setting of A Clockwork Orange, human nature is altered through conditioning by drugs and celluloid just like what they did to Alex in the film in order to change his murderous ways. In this sense, Kubrick raised questions in his films about human nature in
Since the late 1890’s films have been constantly changing the history of pop culture and the way people view war, politics, and the world as a whole. As the timeline of the history of film progressed, there were many different phases: gothic noir, slapstick comedy, tragedy vs. love, romance, and many more. Towards the more recent times, the central ideas of films started drifting to the greatness of the directors. Directors such as Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many more were noted as outstanding directors of action and cinematography. In this paper I will speak about Wes Anderson, Martin Scorsese, and the ever so infamous Baz Luhrmann. These directors have changed the way filmmaking has been and will be looked at from this point on.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.