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However, the artistic value and appeal are unquestionable. Before beginning the main part of the comparative study, it is important to generally assess the working of the two filmmakers. In regards of the Dardenne Brothers, it is widely accepted that most of their films follow a sort of realistic depiction that may eventually drift towards some political implication. In other words, their movies are prone to convey political message. The most important part of this phenomenon is that this message is not conveyed in a planned way. The cocktail of story telling and realism may lead the spectator to wider societal and political inferences. (Bickerton, 2006) Haneke, on the other hand, is known for depicting stereotypical characters time and again. However, such tendencies do not mar his exclusive language of cinema that gives rise to robust flow of thoughts. In words of Grundmann (2007, p.6), this is “cinema of glaciation”. Further, realism in Haneke’s cinema appears in a subtle form where the central character may be a very different kind of person, just the like we find in Benny’s Video (1992). ...
A single, coherent definition for realism is impossible. In general, we can say that the kind of filmmaking where visualization and subject are naturalistic is dominated by realism. Realism based cinema often addresses everyday life. Italian Neo-realism (Neorealismo) emerged during the 1940s. It was a trend rather than a movement. It involved visualization of desperation and poverty in Post War Italy which acquainted the spectator with harsh reality (Shiel, 2006). British Social Realism was derived from Italian Neo-realism, but it developed its own distinct identity by depicting radical, and often political, social positions. From 1945 to 1955, this variety of filmmaking was suppressed by censorship (Lay, 2002). French New Wave cinema was too based on Neo-realism. These films were more unique in the sense of cinematography and structure. The films had limited budget and resources. Strangely, this led to more innovations such as utilizing shopping carts for placing and tracking movie camera shots! Style dominated this version of realism-based cinema (Marie and Neupert, 2003). From the 1950s, modernism began to evolve as a cinematic expression with its naive assumptions and attempt to get the viewer to realize that film can never totally represent or reflect reality; its construct involves selections by the director, producer, editor, etc. The miracle of Neo-realism was thus adapted into the romantic period (1959-1961) followed by established modernism (1962-1966). Style, ornamental depiction and reconstruction of reality dominated the works pertaining to this era of filmmaking. Western Europe and Central Europe were the main areas wherefrom directors like Fillini, Jansco, Kawalerowicz, etc. extensively worked on modernist cinema. Dardenne Brothers and Haneke ...Show more


Running Head: Contemporary World Cinema Contemporary World Cinema University Name Subject Name Instructor Name Contemporary World Cinema Introduction In this paper, we aim to conduct a research based comparative analysis between the filmmaking of the Dardenne Brothers and that of Michael Haneke…
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Contemporary world cinema essay example
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