European art cinema gained popularity in the 1950s down to the 1970s, with notable filmmakers such as Federico Fellini, Michelangelo Antonioni, and Ingmar Bergman.
Instead, we may have the protagonist wander around aimlessly for the whole movie, with nothing of real importance happening to drive him from one activity to the other.
For example, the 180-degree rule is followed since crossing the 180-degree line will cause a disturbance or a jarring effect on the viewer, thus calling attention away from story and to the teller.
In contrast the task of European art cinema is to be ambiguous, utilizing an open-ended (and sometimes intertextual) plot, causing the audience to ask questions themselves whilst introducing an element of subjectivity.
[4] Another way they differ in terms of ‘realism’ is that Hollywood classical cinema has characters in full make up all the time, even when just coming out of bed; whereas European art cinema strives for a representation of the 'truth' and may not have characters in costume or make up.