Comparative analysis of formalist and realist film theory Essay

Current leaven provides a comparative analysis of motleyalist and tangibleist make theories, establish on theoretical approaches, innovations, sarcastic findings and adopt-making practice of such(prenominal)(prenominal) ren ingested examples of some(prenominal) currents of the snap scheme as Eisenstein, Arnheim and Bazin. forrader beginning the analysis of the abovementioned subjects, one should shoot for out that the difference amongst sorting and objective material in veridical word picture-making is dialectical. In cinematograph ideas and universe juxtapose to make believe veritable synthesis.This effect is produced by pointor of white-tie processing of real optical content. Ideas of a director whitethorn be established with the function of lump elements such as collage, centering, as well as additional manner like reasoned and special effect. This means that even out those directors that search to award objective macrocosm do not merely reproduc e it, tho put into their plastic requires their ideas, thoughts and concepts. As any form of art, cinematograph heavily depends on its technical (instrumental) and elegant (ideal) means, which are realized with the help of the former. white-tie elements are necessary means for any creative director to transmit his/her own ideas and romance of truth. This, however, should not overstate the accompaniment that starchy elements whitethorn be apply to deviate objective reality and help construct ideological and biased vision thereof. The contrary may be overly true with respect to pseudo-realist consumes, which pretend to portray objective reality, while in fact bring forth mere copy of it, desolate of any intellectual content. This can be practice sessiond for justification of existent reality.This is the fortune for the majority of commercial films and contemporary film-making patience in general, which is centered on utilize antithetical forms and genres in the view of get profit. These aspects and import of form and reality theatrical performance in the film possible action should be taken in consideration in this comparative analysis of realist and formalist film theory. thither is no denying the importance of the fact that Eisenstein was among the archetypical appearance fathers of formalist film theory, as he was the stolon to develop the theory of montage and special usage of film editing.These elements of cinematograph constitute the first tail end of formalist film theory, as it was veritable in Eisensteins major whole works Beyond the Shot and Dramaturgy of enter Form. match to Eisenstein, cinema is master(prenominal)ly round montage (Beyond the Shot, p. 13). Using montage is some(prenominal) technical and fine procedure, since it helps take a leak meanings by means of combination/ sex act of antithetical images or situations. Thereby, as Eisenstein constantly states, the esthetic effect is created, which is Copern ican in the visual type of communication provided by cinema.Eisenstein, for instance, well- tried and true to show this phenomenon referring to Japanese hieroglyphs, which often create new meanings by means of copulation (Beyond the Shot, p. 14). The most important thought Eisenstein tried to communicate was that formal elements of film exertion are central to realization of delicious grander ideas and the work with various materials ranging from historical word-paintings to innovative scenarios. Montage, harmonise to Eisenstein, is not self-reliant vis-a-vis objective and ideational originity of reality.Besides this, it should be noted that in correspondence with formalist film theory, the inability to use formal elements properly leads to degradation of films as the form of art, and more thanover, this precludes realization of directors ideas that is intellectual film-making. Arnheim, another noted representative of realist film theory, claimed that visual example of reality in film radically differs from visible perception of reality. This difference, according to Arnheim, gives significance to formal elements of cinema, which create artistic set up.Arnheims arrant(a) analysis of these formal features shows that, if properly used, they may produce interesting stirred effects on witnessers (Film and Reality, 323). Arnheim claims that creating images in film is uncomplete ii-dimensional, nor three-dimensional, but represents golden middle. He provides us with example of the scene from Ruttmanns film Berlin, where the director creates collocation of the second and the triplet dimension by making a shot of two trains moving in opposite directions.Film example of this movement, according to Arnheim, creates certain impression and that is, what differentiates film images from real ones (Arnheim, 324). This vision of form in the film drudgery was often regarded as artful by such representatives of realist film theory as Andre Bazin, who cla imed that formal elements preclude real communication between spectators and films images and plot (The evolution of the language of the cinema, p. 48). However, even so opposed to each other, formalist and realist custom both(prenominal) criticize positivist naturalism in cinematograph for its ideological function and positivism.According to Arnheim, documentary genre is not the kindred as pure reproduction of reality instead, it is severe artistic work. Bazins bully love for documentaries as the representations of objective reality should besides be understood considering the abovementioned distinction. Eisensteins approach to film production contradictory realist school represented by Bazin is based on dialectical theory, which sees the collision of opposites, their cooccurring integrity and negation as a cornerstone of every art. Eisenstein said that shot is not an element, but dialectical cell, which rests in ingrained unity with entire film.Contrary to that, realist fi lm theory, represented by Bazin, draws on personalist perspective, which believes that a film should be a representation of auteurship. Bazin is deeply opposed to formalist perspectives, because he thinks that it breaks ball in many little pieces and prevents authoritative and autonomous perception of reality. Instead, Eisenstein puts particular ferocity on dialectical conflicts between shots, differ of music and shot sequence etcetera , which makes his formal approach look intrinsic and all-embracing.As he claims, the knowledge of these formal dependencies is the core of genuine film production (Beyond the Shot, 16-17). Bazin in his rediscovery of pragmatism in the record of art ends with a statement of great opposition between pseudorealism (which reproduces illusionary appearances) and realism which distributes the truth among spectators. According to Bazin, formalist film-making exemplified by Eisenstein and others extracts meaning from real images and makes it a product of inseparable manipulation with reality, rather than its realist representation.Instead, Bazin claims that realism in film-making is focused on genuine representation of reality, which can be achieved by such technical means as shot-in-depth, focus or even wide shots (The evolution of the language of the cinema, p. 49-51). Hence, Bazin does not reject formal elements as such, but transforms them to achieve the target of realist representation. The continuity of images and shots should not, however, be interrupted by montage manipulation like in formalist theory the auteur should follow the unfolding of reality.This means that time and space should not be artificially enjoind by montage, which is the outcome with Eisensteins formalism, but instead, artistic truths should be found in the articulation of difficult relations between time and space. (As a result, a spectator has more possibilities of definition and autonomous understanding). Deep shot, according to Bazin, helps s pectator to get closer to the image, which creates ambiguity of interpretation, which is more artistic than subjective manipulation (Bazin, p. 50).Moreover, it helps prolong the integrity of the image and specific elements in it, which is according to Bazin, no less important than montage (Bazin, p. 49). These are the basic similarities and differences between formalist and realist film theories. Main approaches of these theories are fundamentally exemplified by two famous films battlewagon Potemkin by Eisenstein (USSR, 1925) and Red Desert by Antonioni (Italy, 1964). Battleship Potemkin is a silent film by Eisenstein, which may be considered as practical realization of his formal montage theory.First of all, Eisenstein designed this film to be a propaganda of socialist revolution and, that is why, he put emphasis on emotional messages against repression and for heroism of ordinary people. Eisenstein extensively uses chantlike and intellectual montage to create certain meaning and emotional effects. This can be best exemplified by famous scene on Odessa steps, where Tsarist forces massacred civil population. Eisenstein uses close-ups and montage juxtapositions of Tsarists forces and dupes of massacre.The dramatic close-ups of victims faces and cold and brutal faces of the soldiers create deep emotional effects, which is the cornerstone of formalist film theory. Wonderful example of shot juxtaposition in the film is the image of foil carriage falling down the steps and soldiers legs going down after it. The montage sequence of this scene has certain artistic meaning it portrays the brutality of Tsarist government activity and its inhuman character and articulates these features by video display the images of its innocent victims.The relations between these two shots are intellectual, that is they help spectators interpret separate images and give meaning to them. Opposite realist theory can be best exemplified by Antonionis Red Dessert. The film may be ch aracterized by avoiding manipulation with montage. Instead, authors realist vision of human alienation, bleakness and ugliness of modern civilization is realized through examining continuity of urban life, its relations and contradictions. Such elements of realist film theory as deep focus, wide shots, and color arrangements. color in in Antonionis film also play formalist function, as he uses different tones and colors for depicting reality. For instance, plants in the film and surrounding objects are represented in red color, which creates certain emotional effects and embeds ambiguity. The result may be describe as empathy into the destiny of man in industrial world, which helps poetically describe admirers relations with it. To sum it up, main examples of realist and formalist approach were analyzed, and basic feature of both theories were revealed.