For many theorists, art cinema, at least in the restricted sense, is
defined through narrative and textual qualities
Liv Ullmann, Gunnar Bjornstrand, and Bibi Andersson in Ingmar
Bergman's
Persona
(1966).
that run counter to the body of conventions associated particularly with
the Hollywood studio picture but also characteristic of the conventional
cinemas in many countries. The traditional qualities of the linear
narrative with a finite ending, clarity of plot, such unobtrusive use of
film techniques as camera movement and editing, the underlining of
thematic and narrative points through repetition, sharply delineated
characters and empathetic character identification techniques were
jettisoned by the art film. In their place came oblique, non-linear, and
episodic narration strategies, a commitment to "realism,"
both in terms of surface detail and complex character definition, thematic
ambiguities, and overt displays of cinematic style. Whereas mainstream
films concentrated on character behavior, action, and plot, art films
tended to delve into character psychology and sensibility, to investigate
the drama of the interior. The narrative economy and speed of the
classical film gave way to the
temps mort
(dead time) of the art film. Although thematically broad, it is possible
to argue that art cinema as part of its "realist" project
often focuses upon the existential problems of the bourgeois
intelligentsia, which constitute a meditative mirror for the supposed
audience of urban intellectuals. In addition, unlike the authorial
anonymity associated with mainstream filmmaking, art films are assumed to
possess a strong, identifiable authorial presence. That is, the films are
expressions or constructs traceable to the director, and as such they are
the centerpiece of the critical discourses that focus upon the art film.
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