Art Cinema and Theatre of Absurd
In "The Art of Cinema as a Mode of Film Practice," David Bordwell provides a definition of what he believes constitutes art cinema in order to define the style as an artistic movement. In "The Theatre of the Absurd," Martin Esslin provides similar arguments about theatre as Bordwell does about film. Bordwell and Esslin both provide an analysis of the elements that distinguish art cinema and art theatre from their mainstream counterparts.
There are several factors that contributed to the rise of art cinema in the post-World War II era. Art cinema became to be recognized as an acceptable and appropriate vehicle of expression given the gravity of historical developments of post-WWII Europe.
In "The Art of Cinema as a Mode of Film Practice," Bordwell explains art cinema "as a distinct mode appears after World War II when the dominance of the Hollywood cinema was beginning to wane" (Bordwell 716). Bordwell explains, "art cinema defines itself explicitly against the classical narrative mode, and especially against the cause-effect linkage of events [wherein] linkages become looser, more tenuous in the art film" (717). Thus, cause-effect linkages shift to the psychological constructs of its characters.
Bordwell proceeds to explain art...
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Il doit tuer par programmation des etres proches ou qu'il aime. He must be killed by relatives or loved programming he loves. Redevenu autonome, il tuera de sa propre main son beau-pere puis sa mere.Again become independent, he will kill his own hand and then his father-his mother. Enfin, il sera accule au suicide par desespoir, victime touchante de toute cette manipulation. Finally, it will be driven to suicide
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