Film Art and Cinematography : is CINEMA Antiquated and/or a dead art form ?
Re: is CINEMA Antiquated and/or a dead art form ?
I think not.
There are perhaps certain antiquated techniques and technologies which it has retained since the start of the last century. The alternatives have as yet failed to completely replace them though, which proves their enduring qualities and importance to the distincit nature of the art form.
Big pictures moving on a big screen.
There is still no subistitute for projected celluloid.
Glasgow's FOREMOST authority Italics = irony. Infer the opposite please.
There are perhaps certain antiquated techniques and technologies which it has retained since the start of the last century. The alternatives have as yet failed to completely replace them though, which proves their enduring qualities and importance to the distincit nature of the art form.
Big pictures moving on a big screen.
There is still no subistitute for projected celluloid.
Glasgow's FOREMOST authority Italics = irony. Infer the opposite please.
Re: is CINEMA Antiquated and/or a dead art form ?
Take a look at Unfriended (2015) - story told entirely on a computer screen. A lot of people enjoyed it, but no way does the computer replace the cinema screen.
Re: is CINEMA Antiquated and/or a dead art form ?
No I don't think you can say that for cinema.
If you are talking about the language of the medium you can see a lot of new and exciting ideas which actually take the art form a step forward, in terms of camera work, editing etc. You can argue that most of this stuff was already used in experimental films or arthouse cinema in general but, as is the case with many art forms, there are a lot of examples of adding extra layers of meaning in existing ideas through re-arranging and connecting them in new ways.
Now cinema, unlike other classic art forms, intergrades elements from other arts such as literature, visual arts, photography and so on, all with the purpose of telling a story through moving pictures. So although it seems that there is not a lot of progress going on actually everytime a script plays with the conventions of storytelling in a innovative way, or the director of photography uses a new way of giving us further meaning in a story through camera angles, cinematic format or set decoration and lighting, the art form that is cinema actually progresses a step forward. And there are a lot of examples of that happening mainly in European and Asian cinema and experimental films.
In the other hand, if you are talking about screening techniques, there is also a lot of stuff going on there as well. There are new types of film and new capturing techniques and as technology progresses there will be a lot of new ways to show the things you want that will provide a more complex experience on film viewing. There are experimental ways to screen movies as well; I remember for example reading some time ago about vertical screening in an art festival in Germany.
So I believe that there is a lot of progress in many aspects of cinema and although a lot of these things have not yet reached their full capabilities, it is in the hands of the new film makers to show us how new techniques can take cinema forward.
If you are talking about the language of the medium you can see a lot of new and exciting ideas which actually take the art form a step forward, in terms of camera work, editing etc. You can argue that most of this stuff was already used in experimental films or arthouse cinema in general but, as is the case with many art forms, there are a lot of examples of adding extra layers of meaning in existing ideas through re-arranging and connecting them in new ways.
Now cinema, unlike other classic art forms, intergrades elements from other arts such as literature, visual arts, photography and so on, all with the purpose of telling a story through moving pictures. So although it seems that there is not a lot of progress going on actually everytime a script plays with the conventions of storytelling in a innovative way, or the director of photography uses a new way of giving us further meaning in a story through camera angles, cinematic format or set decoration and lighting, the art form that is cinema actually progresses a step forward. And there are a lot of examples of that happening mainly in European and Asian cinema and experimental films.
In the other hand, if you are talking about screening techniques, there is also a lot of stuff going on there as well. There are new types of film and new capturing techniques and as technology progresses there will be a lot of new ways to show the things you want that will provide a more complex experience on film viewing. There are experimental ways to screen movies as well; I remember for example reading some time ago about vertical screening in an art festival in Germany.
So I believe that there is a lot of progress in many aspects of cinema and although a lot of these things have not yet reached their full capabilities, it is in the hands of the new film makers to show us how new techniques can take cinema forward.
Re: is CINEMA Antiquated and/or a dead art form ?
Well put, though the vast majority of people seem to have very little interest in the "art" of narrative cinema.
Re: is CINEMA Antiquated and/or a dead art form ?
No.
I think, especially in this increasingly fast-paced and technologized world, we as the human race NEED visual and oratory storytelling, and there's no place for storytelling like a darkened cinema movie theater, where we're forced to silence our cell phones and Ipads, sit there for 2+ hours and allow a story on a giant screen to slowly unfold and wash over us. Cinemas are the synagogues of our age. We need to have a place to go and "worship", project our thoughts and emotions into the characters and the story they're creating onto a gigantic screen in front of us.
Watching movies at home and on our mobile devices is OK, but the screens are smaller and there are too many distractions. Going out to see a movie on a giant cinema screen is an EVENT. I think, I hope, there will always be a place in human society for cinema.
I think, especially in this increasingly fast-paced and technologized world, we as the human race NEED visual and oratory storytelling, and there's no place for storytelling like a darkened cinema movie theater, where we're forced to silence our cell phones and Ipads, sit there for 2+ hours and allow a story on a giant screen to slowly unfold and wash over us. Cinemas are the synagogues of our age. We need to have a place to go and "worship", project our thoughts and emotions into the characters and the story they're creating onto a gigantic screen in front of us.
Watching movies at home and on our mobile devices is OK, but the screens are smaller and there are too many distractions. Going out to see a movie on a giant cinema screen is an EVENT. I think, I hope, there will always be a place in human society for cinema.
Re: is CINEMA Antiquated and/or a dead art form ?
My thoughts are, you need to watch more movies.
I think the real question is, are movies art or entertainment? I think the really solid and great films--the ones that go down in history--offer both. That's what makes them special. However, there are plenty of movies that don't straddle that middle ground and fall into either one camp or the other.
The typical summer blockbuster? That's entertainment. But if you branch out of your comfort zone and check out some film festivals and dabble in some foreign movies, you'll see a lot of interesting things. The problem is, Hollywood is a business, and businesses are there to make money. Therefore, they will want to churn out low-risk, high-concept projects to the average Joe in the form of entertainment. I'm not knocking Hollywood, mind you. I like to gobble popcorn in front of some fun entertainment as much as the next guy, but my point is, these movies aren't made with "art" in mind. They're made with turning a profit in mind. Fact.
But filmmakers outside the Hollywood bubble (and even some of those mavericks within) make films their way, with no studio breathing down their necks, and offering suggestions that are neither wanted nor merited. They are usually a bit more innovative and abstract, and concentrate on story, character development, and using the camera to tell the story. They show you more than they tell. And occasionally, some artistic indie or foreign film makes a huge splash in the mainstream market. Hong Kong movies like Hero and Crouching Tiger, Hidden Dragon come to mind. Both Kevin Smith and Quentin Tarantino started out as indie filmmakers who have gone on to, not only working within the Hollywood system while still (mostly) retaining their integrity, but to become pop culture icons in their own right.
I think the real question is, are movies art or entertainment? I think the really solid and great films--the ones that go down in history--offer both. That's what makes them special. However, there are plenty of movies that don't straddle that middle ground and fall into either one camp or the other.
The typical summer blockbuster? That's entertainment. But if you branch out of your comfort zone and check out some film festivals and dabble in some foreign movies, you'll see a lot of interesting things. The problem is, Hollywood is a business, and businesses are there to make money. Therefore, they will want to churn out low-risk, high-concept projects to the average Joe in the form of entertainment. I'm not knocking Hollywood, mind you. I like to gobble popcorn in front of some fun entertainment as much as the next guy, but my point is, these movies aren't made with "art" in mind. They're made with turning a profit in mind. Fact.
But filmmakers outside the Hollywood bubble (and even some of those mavericks within) make films their way, with no studio breathing down their necks, and offering suggestions that are neither wanted nor merited. They are usually a bit more innovative and abstract, and concentrate on story, character development, and using the camera to tell the story. They show you more than they tell. And occasionally, some artistic indie or foreign film makes a huge splash in the mainstream market. Hong Kong movies like Hero and Crouching Tiger, Hidden Dragon come to mind. Both Kevin Smith and Quentin Tarantino started out as indie filmmakers who have gone on to, not only working within the Hollywood system while still (mostly) retaining their integrity, but to become pop culture icons in their own right.
Re: is CINEMA Antiquated and/or a dead art form ?
I am a movie lover but not a movie expert. I am not sure that I could define or use all the film terms in the correct way. But it seems to me that many good or excellent movies are still made.
On the other hand, I am also aware that both in number and in proportion the kind of films which I love most have decreased. In the 1960s I could enter all cinemas in a random order, and I could be sure that I would fall in love with half of them.
Today I must search for such movies
âLa pianisteâ (The Piano Teacher) by Haneke, Michael (France, 2000)
âRoozi ke zan shodamâ (The Day I became a Woman) by Makhmalbaf, Marziyeh (Iran, 2000)
âDer Krieger und die Kaiserinâ (The Worrier and the Empress) by Tykwer, Tom (Germany, 2001)
âSafar-e Ghandeharâ (Journey to Ghandahar) by Makhmalbaf, Mohsen (Iran, 2001)
âLes diablesâ (The Little Devils) by Ruggia, Christophe (France, 2002)
âLilja4everâ by Moodysson, Lukas (Sweden, 2002)
âMy Life Without Meâ by Coixet, Isabel Canada/Spain (2002)
âSia, le rêve du pythonâ (The Dream of the Python) by Kouyaté, Dani (Burkina Faso/France, 2002)
âNathalieâ by Sautet, Claude (France, 2003)
âPanj é asrâ (5 oâclock in the Afternoon) by Makhmalbaf, Samira (Iran, 2003)
âRosenstrasseâ by Trotta, Margarethe von (Germany, 2003)
âStormy Weatherâ by Anspach, Solveig (France/Iceland, 2003)
âSylviaâ by Jeffs, Christine (UK, 2003)
âTo livadi pou dakryzeiâ (Weeping Meadow) by Angelopoulos, Theodor Greece/France/Italy, 2003)
âA House of Sand and Fogâ by Perelman, Vadim (USA, 2003)
âDie andere Frauâ (The Other Wife) by Trotta, Margarethe von (Germany, 2004)
âShake Hands With the Devil: The Journey of Roméo Dallaire.â by Raymont, Peter (Canada, 2004)
âBarfussâ by Schweiger, Til (Germany, 2005)
âCachéâ (Threat) by Haneke, Michael (France, 2005)
âEin ganz gewöhnlicher Judeâ (A Quite Ordinary Jew) by Hirschbiegel, Oliver (Germany, 2005)
âJoyeux Noëlâ (Merry Christmas) by Carion, Christian (France, 2005)
âLa petite chartreuseâ (The Little Chartreuse) by Denis, Jean-Pierre (France, 2005)
âVa, vis et deviensâ (Live and Become) by Mihaileanu, Radu (France/Belgium/Israel/Italy, 2005)
âBaiserâ (Kissing) by Lay, Stephane Le (France, 2006) [short]
âCoeursâ (Hearts) by Resnais, Alain (France, 2006)
âDas Leben der Anderenâ (The Lives of Others) by Donnersmarck, Florian Henckel von (Germany, 2006)
âLa tourneuse de pagesâ (The Page Turner) by Dercourt, Denis (France, 2006)
âAuf der anderen Seiteâ (At Heavenâs Edge) by Akin, Fatih (Germany/Turkey, 2007)
âLe deuxieme souffleâ (The Second Breath) by Corneau, Alain (France, 2007)
âNaissances des pieuvresâ (Water Lilies) by Sciamma, Celine (Belgium, 2007)
âLa môme Piafâ (Edith Piaf) by Dahan, Olivier (France, 2007)
âPour Elleâ (Anything For Her) by Cavayé, Fred (France, 2008)
âAnitaâ by Carnevale, Marcos (Argentina, 2009)
âCiemnego pokoju nie trzeba sie bacâ (The Dark Room Is Not Dangerous) by Czekaj, Kuba (Poland, 2009)
âEhky ya Scheherazadeâ (Sheherazade, Tell Me a Story) by Nasrallah, Yousry (Egypt, 2009)
âLife, Above Allâ by Schmitz, Oliver (South African Union, 2009)
âLourdesâ by Hausner, Jessica (France, 2009)
âIllegalâ by Masset-Depasse, Olivier (Belgium/Luxembourg/France/White Russia), 2010)
The Flowers of Kirkukâ by Kamkari, Fariborz (Italy/Switzerland, 2010)
âWinter's Boneâ by Granik, Debra (USA, 2010)
âOmar m'a tuerâ by Zem, Roschdy (Morocco, 2011)
âParadise Lost, 3: Purgatoryâ by Berlinger, Joe & Sinofsky, Bruce (USA, 2011)
âAnna Kareninaâ (musical) by Wright, Joe (USA, 2012)
âLa vie d'Adèleâ (Blue is the Warmest Colour) by Kechiche, Abdellatif (Tunisia, 2013)
âL'ecume des joursâ (Foam of the Days) by Gondry, Michel (France, 2013)
âKreuzwegâ (Stations of the Cross) by Brüggemann, Dietrich (Germany, 2014)
On the other hand, I am also aware that both in number and in proportion the kind of films which I love most have decreased. In the 1960s I could enter all cinemas in a random order, and I could be sure that I would fall in love with half of them.
Today I must search for such movies
âLa pianisteâ (The Piano Teacher) by Haneke, Michael (France, 2000)
âRoozi ke zan shodamâ (The Day I became a Woman) by Makhmalbaf, Marziyeh (Iran, 2000)
âDer Krieger und die Kaiserinâ (The Worrier and the Empress) by Tykwer, Tom (Germany, 2001)
âSafar-e Ghandeharâ (Journey to Ghandahar) by Makhmalbaf, Mohsen (Iran, 2001)
âLes diablesâ (The Little Devils) by Ruggia, Christophe (France, 2002)
âLilja4everâ by Moodysson, Lukas (Sweden, 2002)
âMy Life Without Meâ by Coixet, Isabel Canada/Spain (2002)
âSia, le rêve du pythonâ (The Dream of the Python) by Kouyaté, Dani (Burkina Faso/France, 2002)
âNathalieâ by Sautet, Claude (France, 2003)
âPanj é asrâ (5 oâclock in the Afternoon) by Makhmalbaf, Samira (Iran, 2003)
âRosenstrasseâ by Trotta, Margarethe von (Germany, 2003)
âStormy Weatherâ by Anspach, Solveig (France/Iceland, 2003)
âSylviaâ by Jeffs, Christine (UK, 2003)
âTo livadi pou dakryzeiâ (Weeping Meadow) by Angelopoulos, Theodor Greece/France/Italy, 2003)
âA House of Sand and Fogâ by Perelman, Vadim (USA, 2003)
âDie andere Frauâ (The Other Wife) by Trotta, Margarethe von (Germany, 2004)
âShake Hands With the Devil: The Journey of Roméo Dallaire.â by Raymont, Peter (Canada, 2004)
âBarfussâ by Schweiger, Til (Germany, 2005)
âCachéâ (Threat) by Haneke, Michael (France, 2005)
âEin ganz gewöhnlicher Judeâ (A Quite Ordinary Jew) by Hirschbiegel, Oliver (Germany, 2005)
âJoyeux Noëlâ (Merry Christmas) by Carion, Christian (France, 2005)
âLa petite chartreuseâ (The Little Chartreuse) by Denis, Jean-Pierre (France, 2005)
âVa, vis et deviensâ (Live and Become) by Mihaileanu, Radu (France/Belgium/Israel/Italy, 2005)
âBaiserâ (Kissing) by Lay, Stephane Le (France, 2006) [short]
âCoeursâ (Hearts) by Resnais, Alain (France, 2006)
âDas Leben der Anderenâ (The Lives of Others) by Donnersmarck, Florian Henckel von (Germany, 2006)
âLa tourneuse de pagesâ (The Page Turner) by Dercourt, Denis (France, 2006)
âAuf der anderen Seiteâ (At Heavenâs Edge) by Akin, Fatih (Germany/Turkey, 2007)
âLe deuxieme souffleâ (The Second Breath) by Corneau, Alain (France, 2007)
âNaissances des pieuvresâ (Water Lilies) by Sciamma, Celine (Belgium, 2007)
âLa môme Piafâ (Edith Piaf) by Dahan, Olivier (France, 2007)
âPour Elleâ (Anything For Her) by Cavayé, Fred (France, 2008)
âAnitaâ by Carnevale, Marcos (Argentina, 2009)
âCiemnego pokoju nie trzeba sie bacâ (The Dark Room Is Not Dangerous) by Czekaj, Kuba (Poland, 2009)
âEhky ya Scheherazadeâ (Sheherazade, Tell Me a Story) by Nasrallah, Yousry (Egypt, 2009)
âLife, Above Allâ by Schmitz, Oliver (South African Union, 2009)
âLourdesâ by Hausner, Jessica (France, 2009)
âIllegalâ by Masset-Depasse, Olivier (Belgium/Luxembourg/France/White Russia), 2010)
The Flowers of Kirkukâ by Kamkari, Fariborz (Italy/Switzerland, 2010)
âWinter's Boneâ by Granik, Debra (USA, 2010)
âOmar m'a tuerâ by Zem, Roschdy (Morocco, 2011)
âParadise Lost, 3: Purgatoryâ by Berlinger, Joe & Sinofsky, Bruce (USA, 2011)
âAnna Kareninaâ (musical) by Wright, Joe (USA, 2012)
âLa vie d'Adèleâ (Blue is the Warmest Colour) by Kechiche, Abdellatif (Tunisia, 2013)
âL'ecume des joursâ (Foam of the Days) by Gondry, Michel (France, 2013)
âKreuzwegâ (Stations of the Cross) by Brüggemann, Dietrich (Germany, 2014)
Re: is CINEMA Antiquated and/or a dead art form ?
THIS. Posts like this are why I come to IMDB. A list that is half and half films I love and films I haven't heard of or seen.
is CINEMA Antiquated and/or a dead art form ?