The author analyses the alternative narrative system approach used in the cinematography. This approach is compared with other classic system approach used in the cinematography. The alternative narrative system is an approach, which tends to be more of a minority test. However, many of them had taken articulate structures in the cinematic field.
The approach was used in the past, and it is differentiated from classic cinema system. It is considered in terms of characteristics of a production model and formal features. The classic narrative structure is used in the contemporary art cinema, because it has different features from alternative narrative system. Some of the classic narrative features include psychologically rounded features, a high scale narrative closure, linearity of enigma resolution and temporal verisimilitude. The classic narrative reveals the narratives, which are structured in a way through varied narration codes. The classic narrative codes are edited following the system continuation.
However, narrative and images have varied cinematic expression levels. On the contrary, the classic narrative structures required can be achieved only through varied cinematic codes. The classic system is set apart by different structural features of alternative narrative systems. This may lead to failure of proper organization of events in the narration, and narrative closure may become ambiguous. Additionally, it may lead to creation of unreal world, and characters may become unconvincing. The art cinema is distinguished from the classic cinema in terms of it characteristics.
The art cinema is a film production model used in European art cinema. Audiences see films in places such as art houses. The features of institutions are unconnected with the official traits of art cinemas. In the art cinema films, fictional characters lack desired goals, and events may not be noticeable. Additionally, art cinema may be marked by violations of classic cinematic modes.
Instead of a verisimilitude of time and space, construction of subjective verisimilitude may occur. In the West, assimilation of the Japanese film Early Spring has been used in the art cinema canon. The cinema of Ozu films highlights varied characteristics of the classic cinema,. There is another counter cinema, which is a film practice challenging dominant cinema. It works against the rules of classic cinema. It deceives the viewer because it makes films ambiguous.
Thus, cinema transformation should be done to avoid the confusion. The counter cinema tries to copy the elements of the classic cinema. These features contribute to linearity between the narrative events, closure and temporal verisimilitude. However, counter–cinema may be difficult to interpret, but films may appear like that of the classic model.
