Why is Filmmaking Considered a True Art Form?

             Cinema is a true art form in many ways. Although its primary purpose is entertainment, it can also influence the way people think and behave. Movies provide employment to millions around the world. The field of video games, which are often regarded as an art form in their own right, incorporates many forms of artistic expression into a single work. For example, video games combine narrative arcs, dynamic music, and illustration.

Cinema pur

The early avant-garde filmmaking movement of the 1920s was known as the Pure Film Movement. Although it had no official manifesto, the movement’s members all shared the idea of developing a new cinematic language. They were also advancing the medium by combining images. Cinema pur is a term that was not used at the time of the movement, but it represents a moment in cinema history when cinema began to be considered an art form in its own right.

Historically, art has included any visual representations, sounds, and movement. Movies are the highest form of these forms of expression and are therefore considered true art. Until about 500 years ago, only imagery and dramatic performance had been recognized as high art. Despite this, film has been preserved as a medium of human expression and has been revered as such by art critics. But in modern times, technology has altered the way art is done.
Fellini’s La Dolce Vita

The ambiguous relationship between decadence and numinous is the hallmark of Fellini’s mature career, as the films reflect an ambivalent attitude toward dramatic social changes in 1950s Italy. While critics find Fellini’s films sentimental, exaggerated, and chaotic, Fellini’s fans perceive an intensity of feeling for each character. The director also explores the “sweet” side of life by looking at victims, outsiders, and ‘others’ from different walks of life. The films are a combination of these themes and the desire for innocence.

Fellini’s film was successful both in Italy and internationally. Fellini was extremely sensitive to the new developments in popular culture, and in Ginger e Fred, he compared television to cinema, which he thought had an impersonal approach. The film also featured Fellini’s wife Giulietta Masina in the lead role. His final film, Intervista, was a critical appraisal of his life and cinematic career, and was screened outside of the Cannes Film Festival. It received a standing ovation from its audience, and won the first prize at the Moscow Film Festival.

Fellini’s La Dolce Via is a highly ambitious film, and a great example of an arthouse film. The film is an ambitious epic, telling a story through loosely interconnected scenes set at night. The film’s narrative isn’t centered around a specific storyline; it is more about the world’s hidden Rome, and Marcello, a mysterious and misunderstood character.

In many ways, La Dolce Vita represents an idealized, heightened version of Italian society and culture. Fellini used the 1960s as the foundation for his film. While his use of literature for film was largely limited to general suggestions and allusions, his films often portrayed a different kind of Italian culture. Moreover, Fellini’s films rarely attempted to’represent’ literary works in their entirety.
Robert Bresson’s Au Hasard Balthazar and Mouchette

Woman watching TV at home and relaxing

A comparison of Au Hasard Balthazar and Moucette may seem confusing. Both films take place in rural France and have similar themes, such as love and death. However, there are several key differences. The first film is a series of short sequences, while Mouchette is a single 24-hour sequence. Neither film is a complete retelling of Balthazar, but both offer an intriguing view of the human condition.

Both films were released in 1966 and 1967, and despite being made on a low budget, they eventually gained enough profit to convince Mag Bodard to produce more films by Bresson. Over the course of five years, Bresson would make four films, including Mouchette. The films also share a similar narrative setting and themes. The latter is more a meditation on human nature, whereas Mouchette explores the darker side of human nature.

These films, like Balthazar and Mouchette, are largely unnerving, depicting the lives of innocent victims. The film’s plot involves a society lady who connives with a wealthy aristocrat to spark a scandalous affair between a prostitute and an ex-lover. Despite its violent content, Au Hasard Balthazar and Mouchette is a moving study of revenge and the strength of true love.

While Mouchette is a simple story about a young social outcast, it is a deeply moving one. In her struggle with her situation, Mouchette suffers many hardships, including being raped by an older man she trusted. Mouchette’s death is a profound moment of catharsis for Bresson. And it is also a beautiful example of Bresson’s anthropological vision.
Tarkovsky’s Jules et Jim

One of the most famous works of Russian cinema, Tarkovsky’s Jules el Jim, has been viewed over 30 million times worldwide. Despite the fact that it’s a comedy, the film is a profoundly moving exploration of love and loss. Its central characters, Andre and Jim, are misunderstood as men with different personalities. But as their paths diverge, they are eventually brought together and reborn as people. While Tarkovsky may not have been the first to elevate cinema, he has been the first to make the medium an art form.
Francois Truffaut’s Brief Encounter

The movie has a number of similarities to real life experiences. For example, Steven Spielberg’s “Star Wars” has many similarities with the film. Both were directed by Steven Spielberg, and both had a difficult time making the film. It was also difficult to get actors to perform because they had to act to things that were not there or things that Spielberg told them to look at. A famous example of this is in the scene where the actress Melinda Dillon sits on a rock and plays a secret message to the officer. In the same scene, Truffaut had to get the actors to read the lines from the note stuck to the officer’s chest. In Day for Night (1973), Francois Truffaut used the same trick with an actress with trouble with her lines.

The theory of auteurism is flawed because it focuses on the director and neglects other contributors to a film. For example, actors, cinematographers, screenwriters, art directors, and composers often have significant roles in a film. Further, since Truffaut’s use of the term “auteur” polemically defended his new style of filmmaking, subsequent theorists have been careful to ignore the context in which the term was first used.