Abstract
This paper describes the basic characteristics of two distinct modes of film practice, known as Hollywood classicism and art cinema. According to the paper, they both have distinctive formal attributes and norms as well as different targeted audiences, means of production and distribution. These differences were particularly obvious during the early years of art cinema during 1950's and 1960's. The paper also notes that over time and under the influence of art cinema, Hollywood film production started to adopt some of the art cinema elements.

From the Paper
"From the historical perspective, Hollywood cinema precedes art cinema and will be analyzed first. This order is also justifiable because art cinema developed in Europe partly as an alternative to the well- established Hollywood production. Classical cinema or Hollywood classicism dominated Hollywood move production particularly during the first half of 20^th century. It..."

Tags:classical films, art films, analysis

Abstract
This paper examines David Bordwell's critical article "The Art Cinema as a Mode of Film Practice." It shows how Borwell aims to propose that the 'art cinema' is actually a real form of film practice, with a historical background and distinct procedures that are taken in order to generate its formation. The paper examines Bordwell's ideas and the examples that he provides.

From the Paper
"The article then goes on to explain the use of narrative intelligence. Usually the narrator makes it known that he or she is well informed of the future events that the characters in the story will experience. Using this knowledge, the film may use various techniques such as the flash-forward to exercise the narrator's power over the viewer. In this way, Bordwell explains that the art cinema is more focused on plot rather than story. Therefore the who, how and why are central to progressing the plot further in art cinema. The conclusion of art films is then discussed. Bordwell, outlining the fact that the characters lack particular goals explains that because of this, the story itself will quite often lack a particular ending. Or at least one with a solid, understandable resolution. This assists Bordwell in implying that art cinema is just a reflection of life itself, which also has no clear resolution."

Tags:cinema, narrator, plot

Abstract
This paper compares and contrasts classical Hollywood films with Italian art cinema. It explores the characteristics and elements of each. The paper provides examples from "Casablanca," "The Bicycle Thief," "A Fistful of Dollars" and "Last Tango in Paris." The author discusses the Hollywood star system and principles of Neo-Realism.

Tags:Hollywood, Films, Cinema, Narrative, Neo-Realism, Leone, Eastwood, Bogart, Westerns, Italian

Abstract
This essay attempts to broadly define the characteristics and underlying principles of both Hollywood classicism and the art cinema. It references one film from each category - "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard, respectively. The paper argues that the predominant stylistic distinction between the two modes lies in the art cinema's subversion of logical causality.

Table of Contents:
Introduction
Hollywood Classicism
The Art Cinema
Conclusion

From the Paper
"Moreover, Godard is also situating his work in the context of New Wave cinema for his audience. This is evident towards the end of My Life to Live in which - in one of the moving, documentary-like boulevard-scanning shots that are commonplace in the film - Godard shows and has his characters comment upon a line-up of movie patrons to see Truffaut's Jules et Jim; a work by his New Wave rival. Within the broader span of cinematic history Godard situates his protagonist, Nana, in a mirror relationship to the protagonist of La Passion de Jeanne d'Arc. As Nana watches her cinematic predecessor crying in closeup there is a closeup of a tear running down Nana's face as well; a referential cinematic relationship that Godard's audience would both expect and understand."

Tags:protagonist, narrative, characters

Abstract
This paper discusses, identifies and defines art films, focusing specifically on British art films of the 1980s and 1990s. The paper discusses sources of funding for the films and the importance of Peter Greenaway's films. The paper also takes a look at Greenaway as a postmodern artist.

Tags:film, art cinema, British films, Peter Greenaway

Abstract
The paper attempts to broadly define the characteristics and underlying principles of both Hollywood classicism and the art cinema with reference to one film from each category: "Singin' in the Rain" and "My Life to Live" (Vivre Sa Vie). The thesis is argued that the predominant stylistic distinction between the two modes lies in the art cinema's subversion of logical causality. The paper provides a comparative stylistic examination of these two modes of film practice that outlines differences in their broad aims, and how these impact "viewing procedures" of their respective audiences. The paper shows how it is the art cinema's challenge to narrative logic - often within a highly self-referential context that foregrounds the film as "film" - that most characteristically distinguishes this mode of film practice from its more popularly recognized Hollywood cousin.

From the Paper
"The distinction between Hollywood classicism and the art cinemas is complex in that films within each category operate with often different formal conventions as well as implicit viewing expectations that determine audience responses. Moreover, it must be acknowledged from the outset that these categories are broad and their boundaries permeable, given that some..."

Tags:film, godard, kelly

Abstract
An analysis of two genre films and two art films - Antonioni's "Blow Up," Kelly/Donen's "Singin' in the Rain", Truffaut's "The 400 Blows", and Sirk's "All That Heaven Allows". The validity of both genre and art film criticism are examined.

From the Paper
"By its failure to accommodate the excess generated by its subject matter, All That Heaven Allows is not only critiquing the genre of melodrama, it also exposes the contradictions and conflicts present in American bourgeois society (Bourget, 1995, 45). However the subversive excess and contradictions present in the film prevent it from being "just another melodrama". Sirk worked within yet against the constraints of the Hollywood studio system to subvert the genre, and although the film is superficially a generic 1950s Hollywood melodrama, Sirk's characteristic stylistic technique marks him as an auteur, a position usually associated with the art rather than the genre film."

Tags:Andr?, Bazin, Robert, Warshow, Lawrence, Alloway, Hollywood

Abstract
The paper explores Walter Benjamin's, "The Work of Art in the Age of Mechanical Reproduction" and looks at how digital cinema may be interpreted as a classic instance of technology democratizing the creative and artistic process. The paper discusses how the camera in general is a tool that can become exploited by those with political objectives in mind. Finally, the paper looks at the redemptive aspects of modern mass-produced art. The paper shows how the age of mass-produced and mass-replicated art offers much that is promising and redemptive, but also presents some genuine challenges.

From the Paper
"Benjamin begins by writing that works of art, at least in principle, have always been reproducible. To wit, man-made creations could always be replicated by man - such as students in an art studio creating copies for the honing of their craft. In the age of mechanization, however, the mechanical mass-reproduction of art meant that an item could be replicated at an astonishing speed - indeed, with a speed that previous generations would have found bewildering (Benjamin, 2). Suffice it to say, digital cinema intersects with Benjamin's observation to the extent that this commonplace piece of contemporary technology now makes it easier than ever before for someone to capture an object - be it a painting or any other form of art - and to distribute said image to whomever and wherever they wish (via electronic transmission, of course)."

Tags:digital, cinema, technology, images, performance, paintings

Abstract
This paper explores the evolution of film from a technology to an art form. The changes that took place in filming technology, the changes in the approach to filming, and changes in attitudes towards film are cited as reasons why the early perception of film changed from that of a new technology to that of an art form. The paper also talks about how the introduction of the narrative helped enforce the growing belief that film was an form of art, not just another new technology.

From the Paper
"Although it may be difficult to conceive of in our modern era, as film has taken its place alongside the long-accepted artistic mediums of painting and sculpture as an "art form", during the early era of silent film this was far from the case. At the beginning of the 20th century, film had the status more of a modern technological curiosity or "freak show" rather than the status of art. The earliest works of film of the very end of the 19th century encouraged the viewer to simply marvel at the "moving picture" before his or her eyes, almost regardless of its content. Quite often these early clips of film had no narrative to speak of. The purpose of such shorts was to simply show the nature (and the limits) of the medium and to capture, however imperfectly, dancers, actors, and other noteworthy individuals of the day in motion, much like a moving newspaper."

Tags:lumiere, brothers, cinema, audiences, camera, moving, life, images, footage, director

Abstract
In this paper the author highlights many of the uses of cinema as a means to political and social communication. He cites many examples of where politics have been affected by the use of cinema and social trends have been established as a result.The author also centres on cases where American movies have been banned due to political issues and influences. The paper concludes by stating that cinema is not the only influence on the changes that have occurred in politics and society.

From the Paper
"A lot of Canadians seem to be loyal to Canadian art, Canadian music, orchestras perform works by Canadian composers, and theatres that perform Canadian plays. But at the same time there are movies that are being now produced and shot in Canada when once they sued to be shot and filmed in the US. Although a lot of Canadians say that they would prefer to be distinctive of their own culture and society at the end of it seems like if they were given a choice they would rather opt for the American way of living."

Tags:attitude, censor, hollywood, regulation, cluture, art