Classical Films vs. Art Films - Essay Example

ical Films vs. Art Films Introduction In the of development, cinematography as a distinct art form and a means of entertainment has undergone multiple transformations, with approaches towards production and the very concept of cinema evolving gradually. However, the main property has remained intact – films always produce effects on the spectators, engage them, evoke different types of emotions, take them through experiences unknown before, show different places and people, make them feel compassion and encourage them to explore visual imagery and sound. According to Bordwell and Thompson (2008, p. 2) motion pictures are designed to produce effect on the viewers; they are intended to interact with the audience and to evoke certain response. 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. Thereby, the stylistic modes also add to distinction between cinema as entertainment and as an art form. 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. These two approaches differ in the means of facilitating the narration and ways of interaction with the audience. Generally, 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 (Tan, 2013, p.8), 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. Eventually, the viewer can watch and enjoy the film as an entertainment form, being given all the necessary clues that make delving deeper in the narrative style not quite necessary. Art film as the cinematographic mode that emerged as a kind of opposition to classical conventions focused more on reaction that on action and “a cinema of psychological effects in search of their causes” (Bordwell et al., 2003, p.614). In other words, this stylistic approach is based on transformation of a film from light entertaining tool to a complex art object, where the way the story is told, i.e. approach to narration, is brought to the fore. Deprived of clarity, the art film does not offer multiple explicit cues to the spectator, who, in his/her turn, has to actively engage in the process of interpretation in order to appreciate he film (Caldwell, 2011, p.10). Therefore, art films are designed to spark psychological response and reasoning process in the audience. Bordwell’s (2003) theoretical framework implies that – due to the function assigned to art films – the two ground principles of narration construction are authorial expressivity and realism. This cinematographic mode presupposes loosened causal relations between the elements of the narration, absence of the ‘deadline’ element in the plot and hence clear resolution of the conflict in the ending, main drama taking place inside the characters’ psyche, and increased importance of subjectivity in comprehension of the film. To facilitate the necessary effect, filmmakers involve a number of narrative strategies that break traditional canons, inserting unexplained gaps, including seemingly absurd or senseless actions, using confusing music score arrangement, and adding scenes that seem to be unrelated to the previous ones and thus require subjective interpretation by the viewer. As a result, the spectator cannot appreciate the film without active interpretation process and reading between the lines. Comparative analysis The aforementioned properties of the two cinematographic modes prove to affect the ways style is used in creating classical and art films. As Caldwell (2003, p.11) reasonably mentions, in classical mode, “style serves the narrative”, while art film mode makes style virtually self-sufficient and drawing audience’s attention to itself rather than to the narrative. Thereby, two chosen films that demonstrate different approaches to film production are Libeled Lady (1036) and Yesterday Girl (1966) – the former being a brilliant example of Classical Hollywood and the latter representing art cinematography. Existing within the two different modes, these films can reveal differences and similarities in typical stylistic devices of classical and art films. Generally, in Libeled Lady, most cinematographic means do not stand out; instead, they complement the plot and give necessary cues for comprehension of the atmosphere, characters’ emotions and events. On the other hand, the style of presenting inner challenges of Anita G. in Yesterday Girl arrests the viewers’ attention and make them interpret the message of the film subjectively. Mise-en-scene Mise-en-scene as the vital aspect of a film’s narrative and one of the most memorable elements of the narrative cinema is used in quite similar ways in the two compared films, yet the art film unfold certain deviations from the classical standards. Elements of mise-en-scene – such as lighting, costumes, makeup, setting and props – play a significant role throughout the Libeled Lady’s narration. The setting of the ship, hotel room or a boathouse depicted in the sequence chosen for shot-by-shot analysis act as a background for the episodes, cuing the locations events take place and making the narration clearer. In the chosen sequence, settings of the boathouse or the hotel room, where the characters reside, are shown in medium, long and medium long shots. Owing to this, close up shot appearing in the course of narration (where the setting cannot be seen clearly) are easily interpreted. When one sees the close up shot #35 with the face of the female character, one easily identifies the location with help of the previous medium shot with the setting depicted clearly. In general, mise-en-scene is always rather explicit and coherent: classical film deploys elaborate use of costumes, standard three point lighting pattern (e.g. the scene in the hotel room from the analyzed sequence), a wide range of props to complement the narration, and carefully created hairstyles and makeup. It could be even stated that such diligent use of mise-en-scene idealizes the narrative to certain extent. Yesterday Girl, naturally, also involves use of mise-en-scene and its key elements as the way to manage the narrative. However, there several differences. As art films are intended to make the viewer think and interpret the message themselves, some elements of mise-en-scene are often removed or distorted to create ambiguity. For example, shot #10 is virtually deprived of setting; in the close up shot, the viewer cannot identify the background, for this shot is obviously detached from the previous one. Probably, exclusion of the setting from this shot is intended to emphasize contents of the character’s speech and expression of her mimics. Lighting is also less conventional in this film: while classical films use soft three point lighting as the major pattern, Yesterday Girl involves multiple lighting patterns that change throughout the film and include even natural lighting. Outdoor scenes and some episodes in cafes or lecture rooms obviously do not involve specially adjusted lighting patterns, and this method of lighting use probably adds to the realism as a primary principle of art cinema. The same could be assumed about the use of makeup and costumes: these elements of mise-en-scene do not idealize characters, e.g. the filmmakers make use of rather than hide the protagonist’s baggy eyes and casual clothing. Cinematographic properties Cinematographic properties as the basic visual means of complementing the narration have a great number of differences between classical and art films. The most obvious similarity between the photographic images of the two analyzed films is range of tonality: both Yesterday Girl and Libeled Lady are shot in black and white. However, whereas such decision for the latter might be explained mainly by technical reasons (color cinematography appeared just a year before the production and thus was not so widely practiced), use of monochrome color image in the art film Yesterday Girl (which was shot thirty years later) is justified rather by conceptual reasons, i.e. the author’s willing to stress the overall mood of accidie and degradation. Standard speed of motion typical for Libeled Lady as a classical film is often complemented with other patterns in the art film – Yesterday Girl narrative is sometimes complemented with acceleration. Perspective relations in both films coincide, being based on normal perspective (35mm lens); while the depth of field implies deep focus. Moreover, another visible similarity lies in the use of academy ratio in both films. What is interesting, classical Hollywood films were transformed to widescreen ration after 1957, yet Yesterday Girl is filmed in academy ratio, which is obviously the decision of the filmmakers. Classical and art film modes manipulate off-screen space and frame mobility in different ways. Classical narrative is expected to be ‘omniscient’, i.e. facilitating omniscient role for the spectator. Therefore, classical scenes usually do not leave much meaningful space beyond the frame – this effect is achieved mainly either with the scale of shots or with help of editing. For instance, the scene in the hotel room included in the analyzed sequence from Libeled Lady allows the viewer to see entire important space in front of the camera, while the space behind the camera is not endowed with significance for the narration. On the other hand, the frame in classical films is mainly stable, with less camera movements and dynamics in the frame traced mainly with help of editing. The scene in the boathouse is illustrative in terms of static framing and switching between the shots (with two characters talking) in order to keep the viewer from missing any meaningful moments. On the other hand, there are mobile frames occurring in the course of narrative, too, yet their mobility is rather limited (e.g. the scene in the hotel with Gladys and Chandler dancing). In contrast, the frame in art films is more mobile, and this mobility is often intended to communicate implicit symbolism of the narrative: there are multiple shots in the hand-held position, tilts up and down with changing angles, pans, and dolly movements. Static frames with changing angles are, however, used as well. Symbolic meaning of static frame with changing angles is illustrated in the court scene, where the judge is shot from the low angle and Anita G. is shot from the high angle. Such arrangement of the frame is used to symbolize the judge’s manipulation of Anita (Thuleen, 1994). Examples of mobile frame as a technique aimed at communicating the message of the art film can be traced in the scenes, where the character comes to the university or looks for a book in the library. There, the camera is in the hand-held position with peculiar movements that create the feeling of seeing the surroundings with Anita’s eyes, i.e. the viewer’s involvement in the narration. Editing techniques Among all the cinematographic aspects, editing is certainly the one involving the most significant differences between classical and art film modes and producing the most essential effect on the perception of the films created in these two modes. Generally, cutting patterns in both Libeled Lady and Yesterday Girl include straight cut as a basic transition technique, though Libeled Lady’s editing deploys techniques like fading out and dissolving as well. In classical films, used editing techniques are inevitably aimed at making the narration more smooth and understandable: these techniques include continuity editing, match on action, cross-cutting, eyeline matches, shot/reverse shot and established shot. Particularly, the shot-by-shot analysis of Libeled Lady’s excerpt illustrates application of match on action (the scene in the hotel room, a male character heading for the exit) and shot/reverse shot (dialogue in the boathouse) techniques; while an example established shot is identified in the beginning of the film, where the fading in shot portrays a print shop of a newspaper. As a result, classical editing patterns not only ensures smooth transition between the shots, but also adds to omniscient position of the viewer and helps to construct a comprehensive narration. Editing patterns in art films are rather different despite involving standard techniques of transition. In films like Yesterday Girl, editing is intended to contribute to symbolism and produce desirable psychological effects on the audience. Particularly, Kuleshov effect is used in this movie to build up surrealistic effect. In the analyzed sequence, one sees a range of cross-cut shots: the protagonist lying in the bed with her glance directed at the camera and narration of the children’s tale interrupting this shot. The character’s face does not reflect what she is thinking of, but inclusion of the seemingly unrelated shots of children’s book is aimed to mirror some of her mental processes and create ambiguity effect to make the viewer think of the relation between these shots. Another good example is recurrent shots of Anita and her man singing German anthem and shots of Jews’ tombs. Furthermore, rhythmic relationships between the shots (e.g. Anita with her boss on the stairs – the boss dining with his wife – Anita doing her hair – the wife and the boss in the bedroom) provide unobtrusive hint at the love affair between the boss and Anita, yet without telling about the affair directly. Another interesting element of editing that goes against conventional classical method is inclusion of static black screen shots with text similar to those used in silent films. Generally, in Yesterday Girl as a canonic art film, editing performs multiple conceptual functions – except providing direct cues for the narrative. Instead, nonstandard and versatile method of editing is an artwork itself. Finally, the use of music in these two film modes is quite different, for music is meant to produce different effects in these movies. Classical understanding on music score’s functions underlies music use in Libeled Lady: both diegetic and non-diegetic music is lavishly inserted throughout the film in order to cue the events, set the appropriate atmosphere and mood, create humorous effect (e.g. when Chandler and music are imitating the sound of hooves) etc. On the other hand, application of music score is less standard in the analyze art film. Music is often seems inappropriate or odd for particular scenes, yet it implies shades of Anita’s emotions and mental state. Moreover, silence is used her in metaphorical function to show the character’s “nearly numb emotional state” (Thuleen, 1994). Conclusion The given comparative analysis of the films as specimens of two different cinematographic modes unfolds key differences in ground principles and, as a result, in techniques. Whereas classical films are originally aimed to provide entertainment and hence are easy for comprehension, art films are designed to encourage thinking and unique interpretations of the narrative and implied message in each viewer. Therefore, different initial intentions guiding production of films belonging to these two distinct cinematographic categories require different formal means of narrative establishment. Reference list Bordwell, D. & Thompson, K. (2008). Film Art: An Introduction. Eighth Edition. McGraw-Hill. Bordwell, D., Staiger, J. & Thompson, K. (2003). The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. Routledge. Caldwell, T. (2011). Film Analysis Handbook: Essential Guide to Understanding, Analysing and Writing on Film. Insight Publications. Tan, E. S. (2013). Emotion and the Structure of Narrative Film: Film As An Emotion Machine. Routledge. Thuleen, N. (1994). Conventional and Innovative Narrative Techniques in Kluges Yesterday Girl. University of Wisconsin-Madison. Retrieved August 10, 2015 from http://www.nthuleen.com/papers/655short3.html. Filmography Conway, J. (Director). (1936). Libeled Lady [Film]. USA: Metro-Goldwyn-Meyer. Kluge, A. (Director). (1966). Yesterday Girl [Film]. West Germany. Read More