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In cinema studies, the analysis of movies aims at establishing the identity and function of the film to the society. Different movies perform varied roles such as entertainment and enlightenment of the viewers. The ideology of idealism originated from the teachings of Plato, which established that all things possess a specific form that distinguishes it from the rest. The film theory relates the video to the reality using concepts from a combination of other disciplines such as politics and sociology to give the audience a feeling of truth in the movie. More so, film theory relates the concepts in the film to the society through establishing a connection, which the viewers can understand easily. Film theory uses concepts such as formalism vs. realism in developing the connection and easing the movie analysis.
All movies contain elements of formalism-realism (Christensen et al. 36). However, the concepts vary from one movie to another differentiating them. The formalistic-realistic scale identifies the levels of both concepts in the movie concerning the other concept. For example, a movie might possess more formalism than realism, which is evident throughout the film. In between realism and formalism, movies express the concept of classicalism, which is a combination of both ideas. Formalism is a filmmaking approach that capitalizes on aesthetic elements such as camera movements and coloration in the film. The application of such elements assists the movie in delivering the intended message to the audience efficiently. For example, the setting of a horror movie is usually in dark places. The dark color ensures the viewers relate to the chilling effect of the movie.
Acting such movies in a room full of light would reduce the frightening nature intended for it. Similarly, the coloration of the jovial film occurs in bright places. The brightness of the setting communicates the jovial mood in the film and makes the movie interesting. Similarly, in real life, people fear darkness and enjoy staying in bright places. Therefore, the viewers of both movies can relate the film to reality using the aspects used to shoot the film. Formalistic elements of a movie present the images in the film in a manner that does not recognize outside influence. The approach discards the control of the society and capitalizes on discourse, modes, and genres. The director ensures the audience can comprehend the message in the film through the narrative format used. Each movie has a story behind the presentation.
Others explore ideas in the contemporary society such as politics or religious beliefs. Without a good use of the formalistic approach, the audience might not be in a position to understand or enjoy the movie as intended. Formalism uses camera movement to create the mood. The color plays a significant part in creating subjective states drawing attention to the desired point (Pramaggiore and Tom 87). Part of the movies might be fictitious in genres such as supernatural films where the actors possess unnatural powers. The director uses the setting of the camera to show the audience what the actor is seeing. Such aspects create the subjective experience in the movie making it more interesting. Apart from color and camera movement, it is important to note that directors use costumes to communicate the intended message. For example, actors in supernatural movies wear costumes of a different color to distinguish them from the rest of the actors in the film.
In film theory, realism tries to depict the situation according to the true definition in real life. One of the outstanding differences between realism and formalism is the camera. In realism, the setting of the movie tends to be objective. For the audience to see the movie as the director intended, the level of the camera is in direct inclination with the eye of the actor. The setting allows the people to have a clear view of the same things that the actor sees. Similarly, the lighting in the movie tends to originate from natural settings such as the sun or the moon. Much of the manipulations occurring under formalism are not applicable in realism. The basic principle behind the concept is to allow the movie to run in the most realistic view possible to avoid many alterations that make the film unreal.
In formalism, the actors set up the scene according to the message they need to pass to the audience (Holt and Noel William 63). For example, the director might set the stage in the form of a church or a house depending on the scene. The set up involves designs that relate to the real world but with an origin in art. In different movies, the setup might be of the same structure but differ depending on the creativity of the director. Formalism relies on artistic expressions to communicate to the audience. In realism, the shooting of the movie occurs in a natural setting. The director does not invest much effort in shaping the scene according to his artistic design. In such cases, the movement of the camera is minimal to ensure the audience gets the natural feeling of the setting. In both cases, the scene communicates to the audience and helps them in relating to the scene correctly.
The composition of the film under realism appears natural. The capabilities of the actors and the subject of the movie relate to the experiences of people in real life. Realism avoids alteration of the movie in making the film unrealistic. For example, in formalism, it is common for the theme to be fictitious and for the actors to have capabilities beyond the abilities of an ordinary person. In most cases, realism handles situations common to the society making the people relate to the experiences of the actors. The composition of the film is an outstanding difference between formalism and realism in the content of the discussion. Both aspects have different groups of people that enjoy the genre. For example, movies involving supernatural actors entice the young people while the older generation finds a preference in those that incorporate realism in a bigger margin. It is impossible to find a movie dealing with realism or formalism alone. Most of them mingle the two concepts in a complete production.
Films use music in expressing the mood of the film in an audio manner. For example, slow music might signify a romantic moment while loud music shows the actor is in a hurry (Titus 171). Drumbeats may signify anticipation for the actor according to the scene. Both formalism and realism capitalize on the music in expressing the mood and emotions of the actors. However, in formalism, the audience does not get to see the source of the music. The music plays from an identified source that is not visible to the audience. In realism, the music is diegetic. The audience can tell the source of the music from the clear visibility on the scene. Every sound in realism concept has a clear origin that the audience does not have to guess. People communicating using the sounds are visible to the audience as well as any other objects. Realism has a great preference for a static camera. Such cameras ensure the audience feels the importance of a single setting as opposed to a frequent change of scenery. The editing done in shooting the film provides a complete flow of the scenes for eliminating any pauses that are impossible in real life.
Concepts of film theory assist the audience in relating the movie to real life scenarios. Formalism explains the concept where the film expressed the artistic ideas of the director. Most of the views represent the ideas of the director with minimal connections to reality. The lighting and the setting of the stage follow the designs drawn by the director as well as lighting effects such as contrast. The positioning of the camera can take higher or lower levels to ensure the audience get a clear view of the scenes. On the other hand, realism positions the camera at an angle similar to the sight of the actor to create a perception identical to that in reality. Besides, the lighting, the scene, and the theme in the story represent the issues encountered by society on a daily basis. Realism expresses the natural setting of the movie without much alteration to fit the creativity and artistic design of the director. However, both concepts work together in making the film interesting for the viewers.
Christensen, Terry, Elizabeth Haas, and Peter J. Haas. Projecting politics : political messages in American films. Armonk, New York: M.E. Sharpe, 2014. Print.
Holt, Patrik O., and Noel William. Computers and Writing : State of the Art. Dordrecht: Springer Netherlands, 2012. Print.
Pramaggiore, Maria, and Tom Wallis. Film : a critical introduction. London: Laurence King, 2005. Print.
Titus, Joan. The early film music of Dmitry Shostakovich. New York: Oxford University Press, 2016. Print.
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