Ensemble cast

The ensemble film [ASA blə ː ] (from French: ensemble = each, total ) refers to a film genre in which the main roles of a film are equivalent in their importance. This star players mostly in their usual pay and the loss of an actor is easier to handle. The cast in the ensemble can be processed as artifice, because the viewer has to follow the development of all the characters are equivalent. There are own film awards, which are awarded for ensemble films, for example in the USA, the National Board of Review Awards Award for Best Cast and Best Ensemble Award from the Screen Actors Guild.

Characterization

The dominance of a movie hero is the U.S. film an essential style feature: The hero is the center of history, his actions, goals and desires determine what happens. Other figures are subordinate to it in meaning. The criticism of this stereotype determined from the beginning to the review of the Hollywood film. The ensemble film used instead of the individual hero either a heroic collective ( Battleship Potemkin, 1925), several protagonists (Rome, Open City, 1945) or an ensemble of characters who are equal in their importance to the plot ( Nashville, 1975 A wedding, 1978). Tröhler divides the ensemble film in groups and mosaic film. While in the group film occurs a grouping such as a school class, a family or informal groups in a central location (The Group, 1966), is a mosaic film by independent and random overlap of plot and the characters determined ( Short Cuts, 1993; 71 Fragments of a Chronology of chance, 1994). An ensemble is in its entirety a specific effect effect. When ensembles form over several films away, generates an own communicative repertoire; For example, in the films of John Cassavetes and Rainer Werner Fassbinder.