Classical Cinema vs. Art Cinema
Originating during The Studio Era, the classical film is a staple of film culture, causing many genres and film practices to be defined in comparison. Classical cinema has set the standard for a collective set of cinematic codes that organize the narrative of a film. These codes are compiled to produce a narrative that is shaped like the structure of a novel. Classical narratives are based upon the concept of an enigma and a resolution. The story consists of equilibrium in the fictional world and an event that disrupted this equal balance. These fictional worlds are created through the highest operation of verisimilitude, or plausibility. To create a realistic world, shots are arranged in a spatial and temporal coherence by organizing them into a coherent, chronological order. This allows the movie to progress through a cause and effect method. Every shot is linked to the following shot through logic or character agency. Agency is given to those who display traits, desires or motivation. This agency is the driving force behind the cause and effect method as well as the equilibrium concept. Without agency, a character is not compelled to act. Without action, or a disruption, there is no cause for a reaction. The main protagonists in a classic film are the most common characters to be given this narrative force. One of the most effective characters to be attributed with a high level agency is the hero.
Derived from American mythology, the hero or heroine is known to possess opposing character traits. This creates a wider acceptance of the character among the audience, and creates more narrative possibilities allowing choices in the plot to possess more than one answer. The aspect of the hero as the main protagonist is divided into the outlaw hero and the official hero. These opposites both operate in the pursuit of freedom, though through different methods. At the end of the movie, both heroes will resolve the disruption, providing a level of closure and completing any story lines originating in the plot.
To ensure that these characteristics of classical cinema are achieved, certain demands are made upon the film’s form and style. A major feature of classical cinema is the system of continuity editing. The goal of this narrative system is to appear invisible to the spectator. By directing the viewer from shot to shot, the filmmaker must try to eliminate any point where the viewer may become confused or lost during a transition between shots. Fades and dissolves are used to give the viewer a temporal relation to the rest of the film, while establishing shots and following closer shots provide a spatial reference. In this space, the viewer is led through scenes with the use of following shots, eye-line matches, glance-object cuts and the shot/reverse shot system. These are worked in conjunction with match on action cutting and the use of the 180 degree rule. These tools work to create a seamless flow of narrative throughout the story. This editing can only become invisible if the plot of the movie contributes. In order for this process to disappear, the plot needs to provide clear causal links between each scene. The audience must know where the movie is going and what needs to be done, pulling them into a co-existing state with the characters onscreen. By identifying with the characters, they create a suspension in disbelief that supports the fictional world and the hero’s agency within the film. Through the acceptance of the film’s storyline, the audience takes on a subjective role in the procedure of viewing the film. They project themselves onto the heroes, or the heroes onto them, making them accept the desires and ideals of the hero.
As in classical cinema’s early years, the audience’s participation in the hero’s notion of right and wrong is very important. Studios create movies that always reflected current events and contribute to the American way of life in a positive way. These films are created to show the hero and his righteous path, or to describe the adversity of a collected nation as it overcomes a great tragedy. Furthermore, classical films are structured by studios to be conservative in their depiction of violence and lust. In most classical films, if a man is killed, it happens just outside of the frame. The camera will often pan away from a couple about to have sex, or cut to a symbolic shot, such as rain, as a substitute. These characteristics, in addition to the formal and stylistic patterns surrounding the causal connection, are combined to create a classical film.
As the classical cinema is associated with America during the Studio Era, art cinema is widely regarded as a global genre. This is not to say that all foreign films are art films and that art cinema does not exist in North America. Art cinema is loosely seen to be the opposite of classical cinema due to its stylistic choices and formal patterns. It is most commonly identified by what it is not. These differences serve many purposes, but make it very difficult to define the genre. The few characteristics that art films possess all contribute to the cinema’s inherent lack of narrative progression and credibility. This is mainly due to the unrealistic, fictional world and its questionable inhabitants. Most fictional worlds in art films seem to be based on unrealistic terms or include unannounced, fantastical sequences. These sequences would normally be introduced in a classical film by an aural signifier or a visual image such as someone falling asleep. Art films also incorporate ambiguity instead of causality into the development of the characters resulting in a loss of identification between the audience and the character. If the audience cannot understand the goals and desires of the hero or heroine, they cannot determine the strength or existence of the hero’s agency. Furthermore, character’s can lack agency within the plot while possessing goals or desires which destroys the overall credibility of the character.
With no cause and effect system in place, there is no level of closure throughout the film. This is especially true at the end. Open ended movies are not a trademark of art cinema since they are specific to the filmmaker. When making the film, art directors tend to use a high level of subjectivity within the plot. The audience is forced to visually identify with the hero instead of through their motives and desires. Many point of view shots are used, especially during dreamlike sequences creating a level verisimilitude. These subjective shots are acceptable in the continuity editing system but are often preceded or followed by a shot containing the viewer. Art films normally contain other continuity violations creating a loose arrangement of causality which opens gaps in the progression of the plot. This creates interludes where the audience is asked to question where the film is heading. Despite being a major flaw to classicism, this concept of deciphering a movie is widely accepted by art film critics. In most cases, the audience expects that they will have to think hard about what is happening in the movie and how it will end. This notion of having to figure out a film does not appeal to all. Therefore, different production and distribution methods are used in comparison to America’s studio machine.
Classical films and art films are defined through their use of causality, continuity editing, subjectivity and plausibility. The Day the Earth Stood Still and 8 ½ are two films that employ these concepts. The Day the Earth Stood Still, directed by Robert Wise is a classical, science fiction film that is a prime example of the continuity editing system. Driven by the nature of causality, almost every scene is joined by a causal link. One example occurs in the sequence in which Klattu and Bobby have just gone to see the spaceship. Klattu finds out that Professor Bernhardt is the greatest intellect in the area. Klattu tells Bobby that they will go see Bernhardt then a fade occurs and the next sequence shows Bobby and Klattu walking towards a house. The audience infers that this house is Bernhardt’s.
While 8 ½, which was made by Federico Fellini, contains some of these causal links, most of the major scene changes are left to let the viewer organize. The Day the Earth Stood Still doesn’t contain any fantasy or dream sequences such as the sequence in which Guido speaks to all of the women from his life. This sequence is preceded by one of Guido’s daydreams. The link is a continuation of Guido’s fantasy but there is no signpost for the audience to anticipate what is coming. Fellini does not abandon the entire continuity system. Instead of following regimented rules, it seems that he has chosen to apply certain codes when he pleases. When Guido speaks to the Writer at the spa, Fellini reframes many times to keep Guido, the Writer and Mezzabotta all in the frame. Then when Gloria is introduced we are shifted to a shot/reverse shot between Guido, and Gloria with Mezzabotta.
Wise and Fellini also differ in their construction of spatial and temporal relations. The Day the Earth Stood Still uses the system of establishing shots and closer framing to set up the setting. This space is maintained by the use of the 180 degree rule as is seen in the sequence where Klattu speaks to Professor Bernhardt in his office. While Bernhardt walks around the room we remain on one side of the action. This line is only partially broken after a match on action is made. Fellini, however, chooses to cross the line of action numerous times. Often there are moments where the axis is crossed to provide a subjective shot. In the sequence that Guido is being hounded by reporters at the press conference, the Mindreader is seen in the background. A close-up is given to the Mindreader and then a close-up a Guido is shown. In this shot Guido is traveling to the right, instead of the left in the previous shot. These types of spatial relations can be disorienting, especially when accompanied by a gap in the temporal chain. The audience believes the gap from the previous sequence to be only a day according to the Producer’s dialogue. Once Guido arrives to meet the Producer, the viewer is informed that three days have elapsed, not one. These abrupt gaps are uncommon in classical films. The Day the Earth Stood Still operates on a daily, temporal chain. When a gap of more than a day is presented, such as the closing of the scene where Klattu and Bernhardt arrange the demonstration, a verbal link is made, to accompany the fade out that ends the scene.
These opposing methods of constructing a fictional world are necessary to the viewer’s interpretation of the main characters. Guido is a weak, deviant in comparison to Klattus confidence and presence. The use of the camera to create a chaotic, confusing world only supports the motif of disorientation in 8 1/2. Fellini’s chaotic world does not present the same level of verisimilitude that Wises structured narrative can provide. This causes Fellini to rely heavily on direct, subjective shots from Guido’s point of view. This allows the spectator to create an association with Guido that is created out of desire, and not from necessity due to the restricted narrative. Even though this association is created, Fellini still manipulates the audience into a subjective trap in the scene where reporters ask questions directly into the camera. One infers that they are being delivered to Guido, but the camera pans right to discover Guido walking amongst a crowd. These instances often cause the characters to lose credibility within the fictional world.
The main characters in these films display contrasting traits and attitudes. Klattu is a strong, confident man possessing great power and control over those around him. Even as Mr. Carpenter, he is able to influence others. His goal is to warn the people of Earth and he confronts every obstacle in his path with a cool attitude. When one object is placed in front of Guido, he tries to avoid any form of confrontation. The scene in which Guido is being escorted to the press conference shows him trying to run away, and then collapsing when he is dragged closer. He avoids making any decisions about the movie, which prevents the narrative from advancing. This procrastination causes the plot to stall throughout the movie leaving the audience in a state of boredom or anticipation. Klattu’s determination to find a figure of authority cancels out any possibility for these stalls. This assertion adds to the character of Klattu and strengthens the story.
While classical cinema and art cinema are both widely popular film genres, they are created through different means. These two practices involve the same principles and techniques, but they are used to different ends. One is used to create a progressive, narrative oriented story, while the other creates a character motivated film.
Derived from American mythology, the hero or heroine is known to possess opposing character traits. This creates a wider acceptance of the character among the audience, and creates more narrative possibilities allowing choices in the plot to possess more than one answer. The aspect of the hero as the main protagonist is divided into the outlaw hero and the official hero. These opposites both operate in the pursuit of freedom, though through different methods. At the end of the movie, both heroes will resolve the disruption, providing a level of closure and completing any story lines originating in the plot.
To ensure that these characteristics of classical cinema are achieved, certain demands are made upon the film’s form and style. A major feature of classical cinema is the system of continuity editing. The goal of this narrative system is to appear invisible to the spectator. By directing the viewer from shot to shot, the filmmaker must try to eliminate any point where the viewer may become confused or lost during a transition between shots. Fades and dissolves are used to give the viewer a temporal relation to the rest of the film, while establishing shots and following closer shots provide a spatial reference. In this space, the viewer is led through scenes with the use of following shots, eye-line matches, glance-object cuts and the shot/reverse shot system. These are worked in conjunction with match on action cutting and the use of the 180 degree rule. These tools work to create a seamless flow of narrative throughout the story. This editing can only become invisible if the plot of the movie contributes. In order for this process to disappear, the plot needs to provide clear causal links between each scene. The audience must know where the movie is going and what needs to be done, pulling them into a co-existing state with the characters onscreen. By identifying with the characters, they create a suspension in disbelief that supports the fictional world and the hero’s agency within the film. Through the acceptance of the film’s storyline, the audience takes on a subjective role in the procedure of viewing the film. They project themselves onto the heroes, or the heroes onto them, making them accept the desires and ideals of the hero.
As in classical cinema’s early years, the audience’s participation in the hero’s notion of right and wrong is very important. Studios create movies that always reflected current events and contribute to the American way of life in a positive way. These films are created to show the hero and his righteous path, or to describe the adversity of a collected nation as it overcomes a great tragedy. Furthermore, classical films are structured by studios to be conservative in their depiction of violence and lust. In most classical films, if a man is killed, it happens just outside of the frame. The camera will often pan away from a couple about to have sex, or cut to a symbolic shot, such as rain, as a substitute. These characteristics, in addition to the formal and stylistic patterns surrounding the causal connection, are combined to create a classical film.
As the classical cinema is associated with America during the Studio Era, art cinema is widely regarded as a global genre. This is not to say that all foreign films are art films and that art cinema does not exist in North America. Art cinema is loosely seen to be the opposite of classical cinema due to its stylistic choices and formal patterns. It is most commonly identified by what it is not. These differences serve many purposes, but make it very difficult to define the genre. The few characteristics that art films possess all contribute to the cinema’s inherent lack of narrative progression and credibility. This is mainly due to the unrealistic, fictional world and its questionable inhabitants. Most fictional worlds in art films seem to be based on unrealistic terms or include unannounced, fantastical sequences. These sequences would normally be introduced in a classical film by an aural signifier or a visual image such as someone falling asleep. Art films also incorporate ambiguity instead of causality into the development of the characters resulting in a loss of identification between the audience and the character. If the audience cannot understand the goals and desires of the hero or heroine, they cannot determine the strength or existence of the hero’s agency. Furthermore, character’s can lack agency within the plot while possessing goals or desires which destroys the overall credibility of the character.
With no cause and effect system in place, there is no level of closure throughout the film. This is especially true at the end. Open ended movies are not a trademark of art cinema since they are specific to the filmmaker. When making the film, art directors tend to use a high level of subjectivity within the plot. The audience is forced to visually identify with the hero instead of through their motives and desires. Many point of view shots are used, especially during dreamlike sequences creating a level verisimilitude. These subjective shots are acceptable in the continuity editing system but are often preceded or followed by a shot containing the viewer. Art films normally contain other continuity violations creating a loose arrangement of causality which opens gaps in the progression of the plot. This creates interludes where the audience is asked to question where the film is heading. Despite being a major flaw to classicism, this concept of deciphering a movie is widely accepted by art film critics. In most cases, the audience expects that they will have to think hard about what is happening in the movie and how it will end. This notion of having to figure out a film does not appeal to all. Therefore, different production and distribution methods are used in comparison to America’s studio machine.
Classical films and art films are defined through their use of causality, continuity editing, subjectivity and plausibility. The Day the Earth Stood Still and 8 ½ are two films that employ these concepts. The Day the Earth Stood Still, directed by Robert Wise is a classical, science fiction film that is a prime example of the continuity editing system. Driven by the nature of causality, almost every scene is joined by a causal link. One example occurs in the sequence in which Klattu and Bobby have just gone to see the spaceship. Klattu finds out that Professor Bernhardt is the greatest intellect in the area. Klattu tells Bobby that they will go see Bernhardt then a fade occurs and the next sequence shows Bobby and Klattu walking towards a house. The audience infers that this house is Bernhardt’s.
While 8 ½, which was made by Federico Fellini, contains some of these causal links, most of the major scene changes are left to let the viewer organize. The Day the Earth Stood Still doesn’t contain any fantasy or dream sequences such as the sequence in which Guido speaks to all of the women from his life. This sequence is preceded by one of Guido’s daydreams. The link is a continuation of Guido’s fantasy but there is no signpost for the audience to anticipate what is coming. Fellini does not abandon the entire continuity system. Instead of following regimented rules, it seems that he has chosen to apply certain codes when he pleases. When Guido speaks to the Writer at the spa, Fellini reframes many times to keep Guido, the Writer and Mezzabotta all in the frame. Then when Gloria is introduced we are shifted to a shot/reverse shot between Guido, and Gloria with Mezzabotta.
Wise and Fellini also differ in their construction of spatial and temporal relations. The Day the Earth Stood Still uses the system of establishing shots and closer framing to set up the setting. This space is maintained by the use of the 180 degree rule as is seen in the sequence where Klattu speaks to Professor Bernhardt in his office. While Bernhardt walks around the room we remain on one side of the action. This line is only partially broken after a match on action is made. Fellini, however, chooses to cross the line of action numerous times. Often there are moments where the axis is crossed to provide a subjective shot. In the sequence that Guido is being hounded by reporters at the press conference, the Mindreader is seen in the background. A close-up is given to the Mindreader and then a close-up a Guido is shown. In this shot Guido is traveling to the right, instead of the left in the previous shot. These types of spatial relations can be disorienting, especially when accompanied by a gap in the temporal chain. The audience believes the gap from the previous sequence to be only a day according to the Producer’s dialogue. Once Guido arrives to meet the Producer, the viewer is informed that three days have elapsed, not one. These abrupt gaps are uncommon in classical films. The Day the Earth Stood Still operates on a daily, temporal chain. When a gap of more than a day is presented, such as the closing of the scene where Klattu and Bernhardt arrange the demonstration, a verbal link is made, to accompany the fade out that ends the scene.
These opposing methods of constructing a fictional world are necessary to the viewer’s interpretation of the main characters. Guido is a weak, deviant in comparison to Klattus confidence and presence. The use of the camera to create a chaotic, confusing world only supports the motif of disorientation in 8 1/2. Fellini’s chaotic world does not present the same level of verisimilitude that Wises structured narrative can provide. This causes Fellini to rely heavily on direct, subjective shots from Guido’s point of view. This allows the spectator to create an association with Guido that is created out of desire, and not from necessity due to the restricted narrative. Even though this association is created, Fellini still manipulates the audience into a subjective trap in the scene where reporters ask questions directly into the camera. One infers that they are being delivered to Guido, but the camera pans right to discover Guido walking amongst a crowd. These instances often cause the characters to lose credibility within the fictional world.
The main characters in these films display contrasting traits and attitudes. Klattu is a strong, confident man possessing great power and control over those around him. Even as Mr. Carpenter, he is able to influence others. His goal is to warn the people of Earth and he confronts every obstacle in his path with a cool attitude. When one object is placed in front of Guido, he tries to avoid any form of confrontation. The scene in which Guido is being escorted to the press conference shows him trying to run away, and then collapsing when he is dragged closer. He avoids making any decisions about the movie, which prevents the narrative from advancing. This procrastination causes the plot to stall throughout the movie leaving the audience in a state of boredom or anticipation. Klattu’s determination to find a figure of authority cancels out any possibility for these stalls. This assertion adds to the character of Klattu and strengthens the story.
While classical cinema and art cinema are both widely popular film genres, they are created through different means. These two practices involve the same principles and techniques, but they are used to different ends. One is used to create a progressive, narrative oriented story, while the other creates a character motivated film.
posted by Phantom at 12:00 AM
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