Why Art House Films are More Meaningful - Essay Example

Name : xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Tutor :xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Title : Why art house films are more meaningful Institution : xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Date :xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx @ 2010 Why art house films are more meaningful Introduction Based on Vachon (1996); ‘Art films or art house films are films created independently and whose main target is meant for a niche audience.’ Critics and students of the film industry have their own definition of art house films. They urge that art films need to be defined as “a canon of films and those formal qualities that mark them as different from mainstream Hollywood films. Instead of having a story that is clear and driven by goals it should contain a style of social realism, there should be expressed and emphasis placed on the authorship of the director and a focus placed on the characters’ dreams and thoughts. According to a student of film studies; David Bordwell art cinema should be considered as a film genre and it has its separate conventions; Vachon (1996). For Independent films or art house films to be considered independent, more than a half of the finances for their production need to come outside the main studio. When technically defined ‘Independent film can be understood to mean a movie whose funding is not more than 50% of the money obtained form any of the major six studios for film production. These big studios include; 20th century fox, Columbia pictures, Walt Disney pictures, paramount pictures and universal studios and Warner Bros pictures. The content of an art film is what distinguishes it coupled with the style and manner in which the goal of the filmmaker is attained. In making an independent film always the budget is lower compared to mainstream films. There is restricted release in its marketing aimed at building word of mouth or to be received by small and specific audiences. They are produced by independent companies dealing in production and also by branches of the main studios; Hall (2009). The art films give a motivation to their narratives by use realism coupled with authorial expressivity. One thing that differentiates art films from mainstream films is that art films contain narrative structures which have many episodes. They are also involved with inside drama which occurs in the psych of a character like issues of a psychological nature that touch on the identity of an individual, social or sexual matters, moral problems or crises in the life of the individual. History of art house films The establishment of art films was preceded by ‘Intolerance’ by D. W Griffith in 1916 and battleship Potemkin in 1925 by Sergei Eisenstein. These works ushered in art house films through productions by people like Luis Bunuel, Salvador Dali with ‘L’Age d’Or’ of 1930. Jean Cocteau also did ‘the blood of a poet’ beginning in 1930. Starting from the 1920s there was a proposition by film societies for the separation of films into two categories. One could be an art cinema which would more serious to serve the intellectual groups while the other which was to a serve a mass audience would be an entertainment cinema (Maccan 1962). A film society was created in England where Ivor Montagu and Alfred Hitchcock brought foreign films that they considered to be achievements of art. Such films included those from the Soviet Union and Germany. The art film notion was also boosted by a French film movement of the 1920s and 30s called ‘Cinema Pur’. More contributions were made from other film makers up to the adoption and the acceptance of the name art house films in the film industry; Lyons (1994). Importance of art films Vachon (1996) is of the view that art house films have been prioritized over main stream movies by many film lovers in so many places. This has made them appear to many people as if they are more significant as compared to the other types of movies. Ones of the reasons for this kind of huge attention is that the main stream films are expected to bring big profits back to studios. This condition mounts a lot of pressure on them and makes it mandatory for them to appeal to large numbers of people. As a result a lot of experimental activities are carried out resulting in restricting limitations on the stories and themes being used in the production of the films. On the other hand art house or independent films get all the freedom they need in order to do explorations of different film types. According to Maccan (1962) there are some people who would prefer films that can be classified not to be within the mainstream. Such people tend to go for independent films. However both independent and mainstream fails may be containing bad and good films. Some independent films tend to lure people on their side not because they are the best. The secret is the incorporation of some old mainstream films of earlier years that are redone with slight modifications to arise at something attractive. Some of the film lovers may be nostalgically hooked on early film productions that they wish to see every other time. A re-doing of that film makes it possible for them to get an opportunity to view it. The mainstream movies pays a lot of money for bigger effects, gifted actors and entertaining jokes instead of doing the same for things they have to think about. The dealers in art house film making employ less formulaic approaches since their main target is a smaller audience or market. Many art house films also look meaningful since they put in a lot of effort to be and in the process turn out to be pretentious and intentionally obscure. Some people go for meaningful stuff in films while others go for mere entertainment. This is because they have varying tastes and preferences. A person who watches a Truffaut film does not need to consider himself more elite as compared to the other who like Legally Blonde; Lyons (1994). The mainstream films are answerable to many people since a lot of capital is invested in them. They are made for the pleasure of masses. As a result there is no originality in them since quirkiness is ejected from them. Compared to independent films there are big differences to be seen. Art house films can be seen as efforts made out of love because directors are unwilling to let go of their ideas. Again the major target of these films is not bringing back huge sums of money. However money comes on top of the primary goals; Redding & Brownworth (1997). There is the aspect of integrity being fought for instead securing fame and financial returns. People who prefer independent films or behave in a manner that suggests so want to get the integrity in those films. They may then dislike mainstream films giving the reason that they are created for masses that have no knowledge of anything good; Hall (2009). Art films are not made by massive corporations and have within their structure many narrative styles, themes and filmmaking which cannot be found within commercial mainstream movies. Another argument that works in the favor of independent movies is that mainstream movies are designed to address the needs of young people probably teenagers. This age bracket seems to be the best audience when talking about reliability. Examples of movies targeting such an audience include the violent action films, video game and super hero. Such films are made in a simpler way for easier translation in other languages in order to bring in more money. Independent films are also likely to be a serious work of art since a lot of effort and sacrifice is made for it to be produce. It is therefore bound to have many quality benefits like educating the viewer because of its fine content; Lyons (1994). The reason behind this is that commercial films have many ways of getting money for their production while independent films solely depend on the artist to produces the money needed to invest un them. Funds for studio films may easily be obtained from, presales, private investors, film studios and placement of products. Independent films may not attract this kind of funding like the studio films. The directors involved are forced to provide funds from their own pockets. A film that is funded in this manner may also not bring in much returns but its impact to the society in terms of morals is great; Merrit (2000). The target audience is mature and reasonable since the content is educative and not merely entertaining. Production of a studio film displays extravagance while the independent film is produced from donated funds, locations and goods. This puts a big limitation on the independent films which makes it difficult for them to be made with a lot of fancy. Amateur films are therefore distinguishable from the quality loaded independent films because directors of art films and the crew incorporate a lot of creativity in the filming of various scenes. Some art fills are known to surpass studio films despite the fact that they have limited financing in their production. They still posses great cinematography, acting performances and movies editing; Lyons (1994). Hall (2009) argues that the integrity and moral soundness of the independent movies means they can be preferred over studio movies by parents who want clean substance for their children. Many studio movies may contain several episodes of violence and ill mannerisms which may not be advisable for the psychology of young children. Independent movies provide a better alternative in this regard. They are also suitable for aged people who may not be interested by mere entertainment and excitement. This means the art films are better options for a family that wants to watch a movie together; Marie (2002) observes that the limited access of independent films to resources should not be translated to mean that these productions have been left behind in technology and sophistication. Their production quality is much higher today because of the availability of cheaply accessible technology for film production. In the years of the 1990s and 2000 there has been a development in the independent films resulting form a number of reasons. The availability of digital cinematography cameras at manageable costs which can be compared to 35mm film quality coupled with computer editing software that is relatively easy to operate with has been a great contributor. Before this however there was a big problem since independent film makers could not afford the required stock and equipment. The invention of ‘consumer camcorders’ and digital video in 1985 and the 1990s respectively reduced considerably the cost for production of films in terms of technology. Distribution has also been simplified by technology like DVD, Blu-ray Disc together with video services provided online. Independent film makers with scarce finances can also make use of 3-D technology; Lyons (1994). Independent film makers display a lot of creativity and risk taking. This is brought about by the scarcity of finances in their production and distribution. Their directors give trial to totally new techniques since they are their own managers and there is no restriction to that. This happens in contrast to studio films which may suffer stagnation and lack of new ideas. This problem occurs because they are focused on money and nothing else. Technology is used to fabricate things without the inclusion of any new innovations as long as there is ready market; Emmanuel (1999). Conclusion In conclusion Independent films are those whose production is done outside the main studio although its distribution can be carried out by a subsidiary of the main studio. They are characterized by creativity and the dignity or integrity and their intellectually involving nature that is incorporated in their production among other things. Independent films have several advantages when compared to studio films. These are the things that make them popular and meaningful to many people. They may not be having a wide pool of resources from which their production and distribution costs are drawn but their content is of high value (Hall, Philp2009). Their focus is on a little audience as opposed to mainstream movies that target masses. Affordable technologies like the use of DVD, 3-D, and Blu-ray Disc have also added to the quality of independent film production. It therefore remains that independent movies are likely to continue ruling the decisions of many sober minded and intellectual audiences who are not after excitement and entertainment; Biskind (2004). This is true since they appear meaningful in terms of quality and content they carry as opposed to studio movies whose main agenda is to entertain. References Barbara Wilinsky. (2001) Sure Seaters: The Emergence of Art House Cinema. (Commerce and Mass Culture Series) Biskind, Peter (2004). Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film. Simon & Schuster. Hall, Phil (2009). The History of Independent Cinema BearManor Media. Levy, Emanuel (1999). Cinema of Outsiders: The Rise of American Independent Film. New York University Press Lyons, Donald (1994). Independent Visions: A Critical Introduction to Recent Independent American Film. Ballantine Books. Marie, Michel. (2002) The French New Wave : An Artistic School. Trans. Richard Neupert. New York: John Wiley & Sons, Merritt, Greg (2000). Celluloid Mavericks: The History of American Independent Film. Thunder's Mouth Press. Redding, Judith; Brownworth, Victoria (1997). Film Fatales: Independent Women Directors. Seal Press. Richard Dyer Maccann (Summer, 1962). "Independence, with a Vengeance". Film Quarterly (University of California Press) Satraroj, Nick. Movie review: 'Uncle Boonmee,' an art film for everyone. CNN. Accessed on November 7, 2010. Vachon, Christine (1996). A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond. Simon & Schuster. Read More