The paper "Classical Films vs. Art Films" explains that the type of response expected from the viewer and the effect to be produced are mainly defined by the production modes and styles that imply a range of conventions and norms. …
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Two significant cinematographic modes defined by the methods of studio production and compliance with a set of related standards are classical Hollywood cinema and art film. Form the body of related research literature, it becomes clear that classical Hollywood cinema mode is that resting upon the set of traditions and stylistic devices descending for the Classical era of cinematography. Classical mode is distinguished by restricted ambiguity and uncertainty, resolution of the crises and moral dilemmas by the end of the narrative, visibility of causal relationships. This approach is marked by the technical means’ subordination to presentation of events and by decreased value of the motion picture as an artefact: it is the content of the narrative that draws primary attention, with the plot-related questions emerging in the viewers’ minds. Development of the narrative is usually logical, clear and occurs in the chronological order, while the scenes are glued together seamlessly creating a smooth flow supported by appropriate music scores. The described characteristics of the classical cinema mode are derived from the function cinema is expected to perform within this mode: classical Hollywood cinematographic products are intended to entertain the audience, with the key stress being placed on action. In order to insure completion of this task, production process uses technical aspects such as lighting, mise-en-scene, music score and cinematographic properties making the comprehension of the narration easier.
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In a few cases these films present both mainstream views of the period in question and other, ‘alternative’ heritage material that is set in contrast to the dominant norms of gender, race, class or sexuality. This paper considers two examples of films which present ‘alternative’ heritage material in terms of sexuality: Orlando (Potter, 1993) and Brideshead Revisited (Jarrold, 2008).
All films are illusions. This statement is very true of films, whichever genre it may be. This characteristic of films refers to the moving images produced in the spectator's mind. In reality, there is no real movement transpiring in films, thus calling them 'motion pictures.' It is the spectators that put movement in them through illusions created by way of persistence of vision through technical effects that enhance the visioning of the film.
Others engage highly stylistic forms of subjectivity intent on unapologetically pressing forward an agenda.
The National Socialist Party Congress of 1934 was filmed for a documentary by the infamous Nazi propagandist Leni Riefenstahl. This stunning example of political manipulation through the art of the cinema reveals in excruciatingly yet undeniably artistic fashion how the great Nazi rallies were prepared by utilizing a geometric formation that successfully and subtly succeeded in transforming what was in reality a rather nebulous mass of humanity into what appeared to be single-minded entity.
lberg, are reserved a position within American society akin to royalty, with the multi-million dollar salaries they receive only a part of the celebratory acclaim they receive. With so much fanfare surrounding the cinema the question as to what actually constitutes a quality
Before the 1980s, the cost of production was very high and the revenue from the sales was very low on downward trends. This had strained many companies involved in the movies production in the seventies because movies would only attract investors if they were sure of very high
Hushpuppy, a major character in Beasts of the Southern Wild, lives with her father in a Bathtub and struggles through complexities to rise ultimately against her challenges and tribulations. She and her father fend for food at night in the ocean. The little girls
This essay compares Andy Warhol's films and art. While doing his arts, Any Warhol also joined the film industry. However, many observers say that his films defied the rules of filmmaking; nevertheless, they had a great touch with reality. This paper focuses on the difference between the films and art of Andy Warhol.
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