What is Art Cinema Narration?: In the Mood for Love (Wong, 2000)
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- Опубликовано: 13 сен 2024
- In this video in our series on narration, I examine David Bordwell's account of "art cinema narration" that he develops in his essay "Art Cinema as Mode of Film Practice." In the essay, Bordwell makes the bold claim that what we generally call "art films" are not only identifiable through institutional markers--that is, how they are produced, exhibited, and marketed--but also through stylistic and narrational ones, too. This video looks primarily at the way that art cinema narration distinguishes itself from the tenets of classical Hollywood narration, using the example of Wong Kar-Wai's In the Mood for Love (2000).
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That subtle flashforward analysis blew my mind
It took me a few viewings to notice!
@@filmandmediastudieschannelat first i thought you were referring to the scene in which mr chow was searching for lost slippers, then the next scene being mrs chan taking them, but the one you talked about is even more abrupt and into the future and yet was subtle and inconspicuous
@@therogue1542 Right - I tend to show that moment first as a simpler example of non-chronological order. The scene with Chan in the room is soon enough after the initial scene of Chow looking for the slippers that we immediately understand that we're seeing the cause of the earlier effect, just reversing the cause-effect order. The other one is much stranger IMO and harder to make sense of.
The comparison you gave between "In the Mood for Love" and "To all the Boys..." was very good and I think it really nailed the main differences between art and mainstream film. But I would further divide art film narration into two subcategories. There are art films that are based on a loose script and the details are spontaneously developed on the set. Those film are often more focused on conveying an overall feeling or like you called it passive drift in a dilemma situation. Examples would be Chunking Express, In the Mood for Love, Breathless or Sonatine. On the other hand there are films that are elaborated in every detail. Narration-wise those films are often closer to classic plays or literature, have an allegorical layer and a denser ideological substance. Examples for this could be Battleship Potemkin, La Dolce Vita, Bitter Rice, Wild Strawberries or The Marriage of Maria Braun.
Hmm yes very interesting. Your distinction helps explain why both Neorealist films (including Italian Neorealist films but also films like Killer of Sheep) and postwar European modernist films (Bergman, Bresson, Antonioni, etc) feel so different but still tend to share the anti-classical tendencies associated with art cinema generally.
ive watched in the mood for love more then 5 times, and never noticed the hidden montage!
it certainly took me a few viewings to pick up on it, too!
Wonderful analysis of one of my all-time favorite films! Bravo!
Another Great video. You seriously deserve more subscribers and recognition. 💯👌 I learned more about films from you than anybody.
hey thanks for saying so!
One of the best example for the blurred boundary of the concrete scene continuity and montage sequence is the opening scene of "Synecdoche, New York"
ah interesting! i was really into this film when it came out but haven't revisited since...I'll take a look.
My man!! 💪🏻