Abstract
This study aims to show that cinema can produce works of art, especially in the current period, one that is still hyper-aesthetized, at least for a significant part of the audience, where watching movies has reached a climax. The approach we have followed in shaping the subject is progressive, drawing upon the theoretical and methodological framework of Aesthetics, Hermeneutics and Continental philosophy. The study begins with the characterization of art films, in order to distinguish them from mainstream films that contain certain artistic aspects and aesthetical features, at least in their shape or form. Afterwards, we shall highlight the features of the film as a work of art, the aesthetic categories that can be found at this level, the developed aesthetic experience, and other relevant theoretical aspects. In order to illustrate the theoretical notions of our study and to reveal the content in a concrete manner, we also included an applied part, in which, through the tools offered by the above-mentioned qualitative methodology, we analyzed three films. The interdisciplinary analysis shall reveal the aesthetic language and categories specific to each film as well as how they contain a message of a philosophical nature that can act through certain scenes and sequences as an analogy for various philosophical concepts. The study will end by highlighting some conclusive ideas.
Highlights
Art is the synthesis of aesthetic elements resulting from the blending of form and content
We will argue that an art film has a unique aesthetic language, which mandates hermeneutical involvement from the viewer, both emotional and intellectual, and in the end we will outline an applied, aesthetic and philosophical interpretation of the films: The Matrix, Persona, Stalker
Art films originate in avant-garde, which is a starting point for potentiating specific expressive means, such films somewhat representing the mass not being produced for the large audience, they symbolize what is expressed beyond rationality, the rhythm being the condition of film poetry (Aristarco, 1965; Yates, 2006)
Summary
Art is the synthesis of aesthetic elements resulting from the blending of form and content. Canudo argued that both sculpture and painting are subsumed to architecture, taking into account the rhythm of space, while poetry and music are subsumed by the rhythm of time and saw the film as the midpoint between this two rhythms (Aristarco, 1965: 39) All of these arts involve two fundamental elements, orbiting around the aesthetic act. Art films originate in avant-garde, which is a starting point for potentiating specific expressive means, such films somewhat representing the mass not being produced for the large audience, they symbolize what is expressed beyond rationality, the rhythm being the condition of film poetry (Aristarco, 1965; Yates, 2006) They are experimental, to the extent that they experience images, ideas found in the behaviour of the actors, not a commercially oriented aspect. The attributes of the art film include the provision of creating authentic, original schemes, different from the current standards, as well as a niche audience with aesthetic sense, art film being able to express indefinable emotions and experiences (Bazin, 1968: 121)
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