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Word Count: 494
In David Bordwells essay The Art Cinema as a Mode of Film Practice he claims that art cinema defines itself explicity againt classic Hollywood cinema practices in the area of narrative structure and cinematic style In the film Contempt 1963 directed by Jean Luc Godard Bordwells claims provide an interesting scope through which to watch the film In the film the narrative structure and cinematic style defy classic Hollywood cinema practices Contempt uses unique cutting techniques audio sampling narrative style shot compositon and camera movements all which can be representative of the Art House genre Classic Hollywood narrative style provides audiences with a storyline that goes from A to B easy to follow as to be leasing to the masses The narrative style in Contempt is much different to that of classic Hollywood cinema the premise of the story is not all that exiting and simple The storyline abruptly changes without resolution defying traditional Hollywood cinema practices For example when the movie producer and Camille leave Paul at the studio after he opts to take a cab and follow them The two leave leaving Paul alone at the studio without an address to meet them In the next scene Paul somehow finds the house and when he arrives Camille is upset he is late Paul is no longer concerned with them leaving him and he has an excuse that his taxi got into a crash Camille is upset for the remainder of the movie leaving the viewer to ponder why In classic Hollywood film the dispute would either have been resolved or further developed to add to the plot In the case of contempt Pauls car accident was never explored he just mentioned it a few times and it was forgotten What makes an Art House film so unique is that its not what is being told that drives the film it is the way it is told that drives the film In the opening
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