{"id":1060,"date":"2025-11-10T03:57:42","date_gmt":"2025-11-10T03:57:42","guid":{"rendered":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/?p=1060"},"modified":"2025-11-10T03:57:42","modified_gmt":"2025-11-10T03:57:42","slug":"the-art-cinema-as-a-mode-of-film-practice-and-wicked","status":"publish","type":"post","link":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/2025\/11\/10\/the-art-cinema-as-a-mode-of-film-practice-and-wicked\/","title":{"rendered":"“The Art Cinema as a Mode of Film Practice” and Wicked"},"content":{"rendered":"\n

In this week’s reading, David Bordwell\u2019s essay \u201cThe Art Cinema as a Mode of Film Practice\u201d<\/em> analyzes the art cinema as a mode of film practice rather than a genre, meaning it\u2019s defined by a set of formal and narrative techniques rather than thematic content. This greatly differs from traditional Hollywood films, in which characters have a clear-cut goal with a straightforward plot, while Art Cinema has looser plots with complex and ambiguous protagonists in a “realer” way.<\/p>\n\n\n\n

A recent movie I watched was “Wicked”, which although in fact is a Hollywood blockbuster, there are certain aspects that can resonate with Borwell’s Art Cinema. In Bordwell\u2019s essay, he says that art cinema prioritizes psychological depth<\/strong> over straightforward plot, exploring the inner thoughts of its characters. InWicked<\/em>, the story delves deep into Elphaba\u2019s motivations and moral struggles, rather than just a linear good-versus-evil plot. Bordwell also highlights narrative ambiguity<\/strong> in art cinema, where events are open to interpretation and outcomes are not fully resolved. Although the actual movie is pretty straightforward, when combined with the context of the original story, many interpretations and nuances begin to show. We see the familiar world from Elphaba\u2019s perspective and begin questioning what was actually real. Finally, Bordwell says that the protagonist<\/strong> in art cinema is often complex and morally ambivalent. Elphaba fits this model perfectly, as she subverts traditional heroic and villainous roles, making the audience question what it means to be \u201cgood\u201d or \u201cevil.\u201d<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Although some connections can be drawn between the essay and “Wicked,” there are many points where the movie is different from Art Cinema and is instead a traditional Hollywood blockbuster. For example, although Elphaba is complex and morally ambiguous, she still has a strong goal and drives the plot forward. Additionally, although the movie has very human characters with human thoughts, the movie is still very fantastical and nothing like the “naturalistic setting” and realistic points in the essay. The plot is very structured and has a pretty distinct beginning, middle, and end, even if the context of the original story gives the movie a complex story structure. In conclusion, Wicked is more like a mainstream musical movie with some art cinema elements, rather than an actual example of art cinema. <\/p>\n\n\n\n

\"\"<\/figure>\n","protected":false},"excerpt":{"rendered":"

In this week’s reading, David Bordwell\u2019s essay \u201cThe Art Cinema as a Mode of Film Practice\u201d analyzes the art cinema as a mode of film practice rather than a genre, meaning it\u2019s defined by a set of formal and narrative techniques rather than thematic content. This greatly differs from traditional Hollywood films, in which characters […]<\/p>\n","protected":false},"author":9789,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,20],"tags":[],"class_list":["post-1060","post","type-post","status-publish","format-standard","hentry","category-reader","category-week-12-11-10-11-12-experimental-art-film"],"_links":{"self":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/posts\/1060","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/users\/9789"}],"replies":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/comments?post=1060"}],"version-history":[{"count":1,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/posts\/1060\/revisions"}],"predecessor-version":[{"id":1065,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/posts\/1060\/revisions\/1065"}],"wp:attachment":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/media?parent=1060"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/categories?post=1060"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2025\/wp-json\/wp\/v2\/tags?post=1060"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}