Hollywood cinema is widely viewed as narrative with most viewers seeing films only as entertainment and nothing else. And most movies are for entertainment, providing a story with a narrative form or also called Classical Hollywood Cinema. This includes forms of narration, sound, editing, cinematography, etc. Anything you find in the normal classical cinema such as the Marvel movies, Disney movies, or the endless remakes of Planet of the Apes movies. All these films are similar in style because they follow the Classical Hollywood Cinema movement. However, there are alternatives to classical cinema, alternatives meaning that these films don’t obey the typical guidelines for the classical Hollywood cinema. Viewers might be confronted when watching
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Two great examples of challenging narrative films are Food (Jan Svankmajer, 1992) and Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943). In David Bordwell’s article “Classical Hollywood Cinema: Narrational Principles and Procedures”, Bordwell states that narrative for classical cinema can be studied into three aspects: representation, structure, and act (Bordwell 17). He states that representation is “what we might call the semantics of narrative…exemplified in most studies of characterization or realism ” (Bordwell 17). Representation is the meaning of the narrative; it’s what the narrative is trying to bring to its audiences. It’s what the filmmakers want to the audiences to comprehend when …show more content…
They may be different in how they show each aspect, but are similar because they both have them. Although there is one more thing that Bordwell talks about with classical Hollywood and that is the comparison of the main character and the story. Food doesn’t have a main character and therefore the story is not based off any characters in the film. Meshes of the Afternoon, however, does. This is referred to in “The Straight Corridor” chapter of Bordwell’s article. Here he tells about how classical Hollywood cinema uses the idea of a character facing a problem and with a resolution at the end is achieved, whether it’s successful or not (Bordwell). In Maya Dean’s film she faces her psychological issues and at the end she is successful at achieving her problem. With Food none of the characters face a problem and therefore no one achieves their goals or face their
Two great examples of challenging narrative films are Food (Jan Svankmajer, 1992) and Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943). In David Bordwell’s article “Classical Hollywood Cinema: Narrational Principles and Procedures”, Bordwell states that narrative for classical cinema can be studied into three aspects: representation, structure, and act (Bordwell 17). He states that representation is “what we might call the semantics of narrative…exemplified in most studies of characterization or realism ” (Bordwell 17). Representation is the meaning of the narrative; it’s what the narrative is trying to bring to its audiences. It’s what the filmmakers want to the audiences to comprehend when …show more content…
They may be different in how they show each aspect, but are similar because they both have them. Although there is one more thing that Bordwell talks about with classical Hollywood and that is the comparison of the main character and the story. Food doesn’t have a main character and therefore the story is not based off any characters in the film. Meshes of the Afternoon, however, does. This is referred to in “The Straight Corridor” chapter of Bordwell’s article. Here he tells about how classical Hollywood cinema uses the idea of a character facing a problem and with a resolution at the end is achieved, whether it’s successful or not (Bordwell). In Maya Dean’s film she faces her psychological issues and at the end she is successful at achieving her problem. With Food none of the characters face a problem and therefore no one achieves their goals or face their