Running Head: ART CINEMA

Art Cinema [Name of the Writer] [Name of the Institution]

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Introduction Art cinema is also known as art film which refers to an independent and serious film which aims to target niche market instead of a mass market. An art cinema is intended to be a serious artistic work, often experimental and not designed for mass appeal rather than commercial profit. Art is also a very important part of a culture, and cinema has become a part of this aspect of human culture. This thing had become relevant from the decade of eighties, when people started to consider issues like the emphasis on the difference, the tension between what exists and what is possible (the cinema was understood as broadening horizons), the "measurement" of reactions of the public, etc. The ambiguity of the relationship between objective reality and film image is a key feature of cinematic expression, and this thing has a huge impact on the relationship between viewer and film, as well as bringing the film language to a poetic language. According to Martin, the image reproduced in a step towards reality, and this eventually affects our feelings and takes a moral or ideological significance in our culture (Martin, 1996, pp.22). When one is at some distance from the silver screen, one is conscious of being in a show and this would leave the impression of passivity that is imposed by the image motion. Ayala has an opinion that art is a spiritual process like performance as it is detached from reality and is seemingly guided by the compass of aesthetic sense. We can say that the film is definitely an art, but a controversial art. First, by the mediation of an industrial company structure that constrains the artistic purpose of the film, this should always seek to reach more people, which largely influence the configuration of their language (Ayala, 1995, pp.17). The Return is a 2003 Russian drama film which was directed by Andrey Zvyagintsev and is said to be an art cinema or an art film. This report further explains the meanings of the label art cinema and how the film The Return depicts itself as an art cinema and incorporates the meaning of true art cinema. Discussion The movie The Return is an example of an art cinema. The director of this movie Zvyagintsev tries to hide the identity of the central character and tries to increase the mystery behind this thriller movie to enormous proportions. However, in the end, the director tries to reveal the story by solving it in a partial manner. Unlike most of the mystery stories, this movie has earned no robbery, scam or murder linked to it. It is based on two Russian boys named Ivan (Ivan) and the second Andrei (Vladimir). One day, both of them were shocked to know that their father who never existed had suddenly come home. Their father was named as Konstantin. The mother of the boys even did not tell them where he had come from and the point of keeping a fishing trip of the boys with their father was to understand him properly rather than going for actual fishing. The film is very much brooding, eerie and intense as it proceeds. The audience continues to stay in dismay that whether their father is a dictator, stranger or a ghost who he is dependent upon these two children to continue his mission. Throughout the movie there are many questions that keep on crossing in ones mind. For instance, where is their father taking them? Why is he taking them for fishing? Why their father not telling them that where was he for all the previous time for which his family is unsure of? These were all the questions that left his two children in state of confusion and made them not trust this man/father. If we take a closer look, the movie also explains that the two children Andrei and Ivan continue to represent a

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human mind with two faces and mystery. This continues to describe the theme of an art cinema and their creation. They are art cinema movies and overlooking the tang of gaudiness about the expression, we can say that these and numerous different movies constitute a unique limb of the cinematic foundation. My point in this article is to contend that we can suitably recognize the craftsmanship silver screen as a dissimilar mode of film work on, owning an unambiguous authentic being, a set of formal assemblies and implied survey methodology. All the more in particular, the art film as a notable mode seems after World War II when the predominance of Hollywood silver screen was starting to wind down. In the Unites States, the divorcement pronouncements made a lack of movies display. The story continues to have a sense of curiosity as the father continues to different attitude and response towards his sons. Sometimes, there are times when one tries to place himself in father shoes and then understand that what father is thinking for us and making us do was completely right for us. For instance, the father did not show himself for the past twelve years and therefore did not know anything about his sons. Not even about their likes and dislikes. Now all of a sudden, there comes scenes in the movie where the father asks his son to settle restaurants bill, then shows them how and tries to teach them how to get their car out of the mud, and how to get your money back by punching the robber when he robbed your money. These are all the instances which prove that the father continues to be a person who cares for his children and wants his children to stand up on their own feet. Therefore, there is not a single moment where one can decide whether father is a villain or not because every time one thinks that he is a villain, he makes some move where all this perception of being a villain washes off. Suspense is one of the biggest characters of the art cinema, and this movie has it all. As there was a point where the three characters go for a trip and their mood fuels the suspense. The ending of the film shows attribute to the Motorcycle Diaries by sealing the film in a beautiful manner and leaving people immensely satisfied. By saying this is to invite the criticism as there are creators of films like The Return, where films are very much different to be bonded together. Yet I shall try to show that whereas stylistic devices and thematic motifs may differ from one director to the other but the main theme and the functions of style of the movie remains the same in the art cinema. The stylistic and narrative principles of the film contain a mode of cinematic discourse which is logically rational. This art cinema like The Return rests upon a set of particular assumptions for the cinematic style, spectatorial activities and structure that is narrative. It can be easily said that the art cinema containing classical cinema contains narrative form that tries to motivate the cinematic representation (Philip, 1977, pp.89). These narratives are motivated by the art cinema by two different forms usually authorial expressivity and realism. On the contrary, the art cinema continued to describe itself as realistic cinema. It will try to show us real problems and real locations such as lack of communication as shown in the movie The Return where the father stays away from his sons for the past 12 years and suddenly appears out of blue. The art cinema continues to play a vital difference from other styles of films. For instance, the art cinema is classical in its dependence upon psychological causation; different characters and their different effects on one another continue to remain central. But if the classical narrative and their characters possess clear cut objectives and traits, the art cinema and its characters lack such defined goals and desires. There will be characters that may be questioning themselves for their goals and would also act differently for reasons that are inconsistent showing a quality of the art cinemas narrative as drifting episodic. Some characters may not appear sometimes or wander out completely which are some kind of events leading to nothing.

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The art cinema is less concerned with movement than response. Art cinema is a silver screen of mental impacts in pursuit of their reasons (Bordwell, 1979, pp.56). The dismemberment of feeling is frequently expressed as cure and help. At the same time regardless of the fact that is not, the forward stream of causation is braked and characters delay to look for the aetiology of their emotions. There likewise cases in art cinema where the model turns into a supersensitive individual and one that have lost nothing in this planet. Art cinema and its role for the society have been unquestionable but it continues to have some ambiguities. The art cinema has its own cultural aspects that can also be discussed when talking about the art cinema and its relevance to the movie we discussed earlier. There have been many definitions of the concept of culture, but they all refer to their inclusion in a context and its influence on the habits and behaviour of humans. In addition, it is considered in two basic ways, a humanist aspect, which is more related to intellectual practices such as film and painting, whereas the other is anthropological, i.e. being more united to the ways of doing things, the values and norms that govern the behaviour of people. The culture is studied from the perspective of effect and interaction and can be described as a learned behaviour, which is not transmitted genetically, but through a mode of interpretation and a meaning of reality. Culture is a well-structured set of distinctive features of people that adapts and changes over the times. From this reflection, the body of a transmitter and receiver interpret the product film text from within a given culture that does not have to be coincidental, it is necessary to place the development of film communication in intercultural communication processes. There are surprises that manifest in the culture point to something which should be acknowledged as suggested by the post modernists. The acknowledgment in and of itself starts the healing process, even if what is being healed has not been identified. Whatever stories emerge, and reactions arise from films, they bring an opening for conversation about what is really going on. Film can then be thought of as serving a purpose similar to that of a therapist, as a catalyst for greater consciousness, brought about by presenting material that has been, at least in part, suppressed. Through its enzymatic action, it can evoke a response that draws attention to itself. This response should the culture take responsibility for it instead of placing the blame for it. On the contrary, it can be a source of exposing the illness in the culture so that it can be nurtured back to health. The symptoms then call us to be caretakers of the wounded areas of the culture's soul. Moreover, the art cinema can also act as a medium of communication. A cinema enables contact between culture A and culture B through the products and language. The connection that is related to images is considered universal, requires the translation or natural language dubbing in which it has been made into a product, but it is clear that there is a notable absence of some ways in favour of an exclusive focus on vision and hearing. In addition, the film promotes the construction of an artificial imagination does not always correspond with the actual reality of a culture, especially in times when the simulation becomes crucial. It is because Baudrillard suggests, this new age suppresses references and supersedes the real by its signs. The image is the only reality of the characters represented.

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Conclusion Art cinema continues to play a significant role in its own world. However, art cinema and its crisis as a reasonable mode of depiction in contemporary cinema is mostly because of the innate inadequacies of this ideal model and part of the way to the conversions of the whole cinematic territory in the course of recent decades especially last two decades. The film The Return seems to be a source of contemporary mythology for culture. It continues to have a melding together of so many seemingly dissimilar elements. But still there seems something to be missing which is not quite deep enough to provide the long lasting transformation that one usually seeks. The film however provides its own theme but there are loopholes and scenes of curiosity which keeps the audience in dismay for a long period of time that who was the father and where did he come from? This is one of the best examples of an art cinema as compared to a normal film. Though the film has taken the place of traditional structures of meaning, it lacks the same vitality and directness of the archetypal process. In conclusion it may be enough to recommend some avenues for future work as the foregoing sketch of the movie requires more in depth detail and examination. An art cinema is a type of cinema that cannot be constructed in isolation from cinematic practices which are the most important part of an art cinema. WORD COUNT 2,231 words

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Ayala, F. (1995), The writer and film. Chair, Signo e Imagen, Madrid, pp. 17. Bordwell, David. (1979) Art Cinema as a Mode of Film Practice, Film Criticism 4 (1), (Fall), pp. 5664. Data retrieved from http://www.scope.nottingham.ac.uk/article.php? issue=14&id=1136 on 11th August 2013 Martin, M. (1996) The language of cinema, Gedisa, Barcelona, pp. 22 Philip Rosen. (1977) Difference and Displacement in Seventh Heaven, Screen XVIII, pp.89104