European art cinema

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European art cinema is a branch of cinema that was popular in the 1960s. It is based on a rejection of the tenets and techniques of classical Hollywood cinema.

Video European art cinema

History

European art cinema gained popularity in the 1960s, with notable filmmakers such as Federico Fellini, Michelangelo Antonioni, and Ingmar Bergman. At this time it was new to the even broader field of art cinema.

Maps European art cinema

Differences from classical

The continuity editing system is not necessarily abandoned but instead is not needed. The cause and effect driven narrative, as well as the goal-oriented protagonist are also not needed. Instead, we may have the protagonist wander around aimlessly for the whole movie, with nothing of real importance happening to drive him from one activity to the other.

Classical Hollywood cinema has a narrative transitivity, in which there is "a sequence of events in which each unit follows the one preceding it according to a chain of causation; this chain is usually psychological". The 'tale over teller' mantra of the classical Hollywood cinema is closely linked to the editing form that classical Hollywood cinema takes, and the rules they impose. For example, the 180 degree rule is followed since crossing the 180 degree line will cause a disturbance or a jarring effect on the viewer, thus calling attention away from story and to the teller. Jump cuts are avoided, since they can cause an ellipsis of the spatial or temporal kind. It is the job of classical Hollywood cinema to get the audience lost and absorbed into the story of the film, so that the film is pleasurable. In contrast the task of European art cinema is to be ambiguous, utilizing an open-ended (and sometimes intertextual) plot, causing the audience to ask questions themselves whilst introducing an element of subjectivity.

Another way they differ in terms of 'realism' is that Hollywood classical cinema has characters in full make up all the time, even when just coming out of bed; whereas European art cinema strives for a representation of the 'truth' and may not have characters in costume or make up.

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Notable films

• The Seventh Seal (Ingmar Bergman, 1956)
• Wild Strawberries (Ingmar Bergman, 1957)
• Persona (Ingmar Bergman, 1966)
• Diary of a Country Priest (Robert Bresson, 1951)
• A Man Escaped (Robert Bresson, 1956)
• Pickpocket (Robert Bresson, 1959)
• Au Hasard Balthazar (Robert Bresson, 1966)
• Mouchette (Robert Bresson, 1968)
• Ordet (Carl Theodor Dreyer, 1955)
• Gertrud (Carl Theodor Dreyer, 1964)
• 8 1/2 (Federico Fellini, 1963)
• La Dolce Vita (Federico Fellini, 1960)
• L'avventura (Michelangelo Antonioni, 1960)
• La notte (Michelangelo Antonioni, 1961)
• L'eclisse (Michelangelo Antonioni, 1962)
• The Leopard (Luchino Visconti, 1960)
• The Gospel According to St. Matthew (Pier Paolo Pasolini, 1963)
• The Battle of Algiers (Gillo Pontecorvo, 1966)
• Breathless (Jean-Luc Godard, 1960)
• My Life to Live (Jean-Luc Godard, 1961)
• Contempt (Jean-Luc Godard, 1963)
• Pierrot le Fou (Jean-Luc Godard, 1966)
• Two or Three Things I Know About Her (Jean-Luc Godard, 1967)
• WeekEnd (Jean-Luc Godard, 1967)
• The 400 Blows (François Truffaut, 1959)
• Last Year in Marienbad (Alain Resnais, 1960)
• La Jetée (Chris Marker, 1962)
• Cleo from 5 to 7 (Agnes Varda, 1963)
• Ivan's Childhood (Andrej Tarkovskij, 1963)
• Andrej Rublëv (Andrej Tarkovskij, 1966)
• The Plea (Tengiz Abuladze, 1967)
• Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)
• The Color of Pomegranates (Sergei Parajanov, 1968)
• Alaverdoba (Giorgi Shengelaia, 1962)
• Pirosmani (Giorgi Shengelaia, 1969)
• Great Green Valley (Merab Kokochashvili, 1967)

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References

src: www.tasteofcinema.com

Literature

• Dobi, Stephen J., Cinema 16: America's Largest Film Society. Unpublished Doctoral Dissertation, New York University, 1984

Source of the article : Wikipedia