Translation of "Narrative cinema" in German

This is great narrative cinema at its finest.

Epic narrative cinema, varied and emotional Play Stop Genre:

Tensions between mainstream and underground, narrative cinema and avant-garde, art and cinema seem largely to have been dissolved.

Historically, experimental film has always wanted to reject the conventions of narrative cinema.

The director Sandro Aquilar investigates the narrative boundaries of cinema, especially those of the short film genre.

We deliberately emphasize the strengths of traditional narrative cinema, fictional and documentary perspectives, and forms.

Louidgi Beltrame’s work unfolds around a deconstruction of the formal and narrative structures of cinema.

Louidgi Beltrame's work unfolds around a deconstruction of the formal and narrative structures of cinema.

His work portrays both his knowledge of living under Israeli Occupation in refugee camps and his constant reflection on cinema narrative.

This voyeuristic and exploitative (male) gaze, as described by Laura Mulvey in her essay “Visual Pleasure and Narrative Cinema” (1973), is exemplified by the film’s experimental structure.

Life imitates the media His film Tunguska (1984) was an early declaration of war on narrative cinema, using a barrage of visual and acoustic elements while at the same time juggling ironically - as he still does - with the term 'avant-garde'.

Director Johannes Grenzfurthner gave a short presentation about traditional narrative cinema, the problems of storytelling and Sierra Zulu.

In West Germany there was a distancing from conventional narrative cinema, as was expressed in the Oberhausen Manifesto of 1962.

Documentaries, particularly when they venture into the domain of narrative cinema, play an important role in the Forum.

The related new aesthetics of hyper-sharp images challenges filmmakers in that narrative cinema often becomes effective precisely not through the use of clear and distinct images.

A turbulent, eccentric take on narrative cinema, on film history, on the Theory of Seeing and the science that obstructs access to pleasure through art.

The focus here is on the highly detailed creation of a film image that doesn't follow the traditions of Hollywood cinema, but rather makes use of its own form of narrative cinema.

In her essay 'Visual Pleasure and Narrative Cinema', Laura Mulvey argues that the pleasure in looking in cinema is connected with the centrality of the image of the female, as object of the male gaze.

Because they have a Eurocentric narrative structure and cinematic aesthetic which, the US film industry has spread across the world, wiping out almost all other narrative styles of cinema.

The formal structure of the film cuts loose the expected narrative in cinema, and proposes a remarkable introspection to questions related to the image and the links between beings.