The cinema art

The cinema art

The cinema art

The cinema art (also called cinema art house ) is a type of cinema made by companies, often small, whose line of production contrasts with those aimed at the box office and mass consumption. The art cinema has greater creative freedom than conventional cinema, and usually shows controversial or dramatic themes or use unusual narrative or cinematographic resources and even difficult to understand. Often, the term is used synonymously with auteur cinema, because the films are identified by the stamp that their director prints on them.

History

It began to explode in the decade of 1910 when there was no difference between commercial cinema or art cinema, and these terms did not exist or apply. The first signs of cinema come from those who seek innovation by adding aesthetics, as in the case of DW Griffith with The Birth of a Nation (1915) and Intolerance (1916). This tendency would continue developing in tapes like the strike (1925), the battleship Potemkin (1925) of Sergéi Eisenstein and the passion of Juana de Arco (1928) of Carl Theodor Dreyer. Contemporary artists were interested in cinema, such as Luis Buñuel and Salvador Dalí with the films Un Chien Andalou (1929) and La Edad de Oro (1930), supported by the surrealist movement; At that time, the first cinematographic movement known as Cinema Pur would be formed by Dada artists such as Man Ray, René Clair, Dudley Murphy and Marcel Duchamp. Other references to the Cinema Art are Stanley Kubrick, Ingmar Bergman and Federico Fellini.

Concepts

Author's cinema. It is specifically about the cinema made by a director who is also a scriptwriter, who tries to print his own style to his work.

Independent cinema Under this term is the cinema that has been produced without the financing of large studios. Normally independent films are considered those in which the money invested by these large film studios does not reach 50% of their final budget. 1

Experimental cinema The new cinema, which breaks established barriers for the projections, moving away from the narrative and allowing the imposition of new styles of creation.

Cinema of reality (or cinéma vérité ). This film emphasizes the real circumstances of the scenes, giving less importance to the formal means of script, editing and lighting.

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