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In India, there was an art-film movement in Bengali cinema known as "Parallel Cinema" or "Indian New Wave". This was an alternative to the mainstream commercial cinema. It was known for its serious content, realism and naturalism, with a keen eye on the social-political climate of the times.
The New Wave (French: Nouvelle Vague, French pronunciation: [nuvɛl vaɡ]), also called the French New Wave, is a French art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm.
This is a list of movements in cinema. Throughout the history of cinema, groups of filmmakers, critics, and/or theorists formed ideas about how films could be made, and the theories they generated, along with the films produced according to those theories, are called movements.
Film d'art (French for "art film") was an influential film movement or genre that developed in France prior to World War I and began with the release of L'Assassinat du duc de Guise (1908), directed by Charles Le Bargy and André Calmettes of the Comédie Française for the Société Film d'Art, a company formed to adapt prestigious theatre plays starring famous performers to the screen. [1]
However the Mumbai noir is a genre that is not considered artistic in ambition even though it concentrates on realistic portrayal of the Mumbai underworld; these are generally commercial films. Other modern examples of art films produced in India which are classified as part of the parallel cinema genre include Rituparno Ghosh's Utsab (2000 ...
It is the job of classical Hollywood cinema to get the audience lost and absorbed into the story of the film, so that the film is pleasurable. In contrast the task of European art cinema is to be ambiguous, utilizing an open-ended (and sometimes intertextual ) plot, causing the audience to ask questions themselves whilst introducing an element ...
German Expressionism was an artistic movement in the early 20th century that emphasized the artist's inner emotions rather than attempting to replicate reality. [1] German Expressionist films rejected cinematic realism and used visual distortions and hyper-expressive performances to reflect inner conflicts.
New Objectivity (a translation of the German Neue Sachlichkeit, [1] alternatively translated as "New Sobriety" or "New matter-of-factness") was an art movement that emerged in Germany in the early 1920s as a counter to expressionism. [2] The term applies to a number of artistic forms, including film.