| Art cinema narration | |
| Single protagonist | Single and multiple protagonists. The emphasis on interior or psychological realities. |
| Driven by desire | Goal bereft |
| Built on conflict | Boundary situation stories the causal situation leads up to an episode where the art film,protagonist faces a crisis of existential significance. |
| Linear chain of cause and effect | Episodic and elliptical |
| Clear and complete motivation | Ambiguous or unclear motivation |
| Clear and complete motivation | Restricted narration |
| Strong sense of closure | Open endings |
Narrational characteristics of the art film protagonist.
Lacks clearly defined traits and goals.
Causal motivation is withdrawn or unknown, emphasizing
insignificant actions and intervals.
The classical protagonist struggles; the art film
protagonist drifts passively, tracing out an itinerary of
social situations.
Concerned less with action than reaction, art cinema
presents psychological effects in search of their causes.
Characters retard the forward movement of the plot by
recounting stories, fantasies, and dreams. Often leads to
temporal disjunctions, such as flashbacks.
Conventions of expressive realism shape spatial
representation:
optical point of view shots, flash frames of a glimpsed or
recalled event, discontinuous editing patterns associated with
interior or psychological time, modulations of light, color, and
sound, are motivated by character psychology.
The art film restrains the narrational point-of-view to a single
protagonist or may split it between several protagonists.
Enhances expressivity of subjectivity, but also makes narration
unreliable.
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