ART CINEMA + AUTEURS

ART CINEMA
European cinema is predominantly art cinema

Teaching World Cinema: Kate Gamm p22

Susan Hayward:
‘A certain type of European cinema that is experimental in technique and narrative’

‘…in art cinema narrative codes and conventions are disturbed and the narrative line is fragmented so there is no seamless cause and effect storyline.’

‘these films are character rather than plot led […] this absence of heroes is an important feature of art cinema.’
Characters in art cinema
- who seen as most heroic/aspiring
- Does where we are from effect who we see as the hero? Actors may be stars in their own countries and not other –how does this effect?
- Do foreign audiences feel more distanced or empowered by freedom of interpretation which they have been given through art cinema? –contrast to viewpoints given by Hollywood films

‘Intentionally distances spectators to create a reflective space for them to assume their own critical space or subjectivity in relation to the screen or film.


AUTEUR THEORY
A director’s work which features a consistency of style/theme/approach
In world cinema auteur theory tends to be more prevalent

Lukas Moodysson, Swedish, Show Me Love
Claire Denis, French, La Haine
David Lynch

BFI: AUTEUR THEORY/AUTEURS

AUTHORSHIP + THE FILMS OF DAVID LYNCH


CASESTUDIES:
Swedish cinema: Show Me Love, Together, The Idiots, Lilya 4-Ever, Festen, Mifune, Italian for Beginners

French film: Amelie, La Haine, Code Unknown, Harry He’s Here to Help,
Art cinema -Beau Travail,

British: secrets and lies, all or nothing, Land and Freedom, Bread and Roses

Mexican/Latin American – Central Station, Behind the Sun, City of God, Y Tu Mama Tambien, Amores Perros, 21 Grams