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FORMALIST FILM THEORY By Thomas McWatters, Melissa Lim, Dan Wargo, Gus Camaraza, Rocco Rygiel

Formalist film theory presentation

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Page 1: Formalist film theory presentation

FORMALIST FILM THEORYBy Thomas McWatters, Melissa Lim, Dan Wargo, Gus Camaraza, Rocco Rygiel

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ORIGIN

This theory says that Film is indeed art and not reproduction of reality.

Unlike realist theorists, formalist film theorists believe that the art of cinema is possible precisely because a movie is unlike everyday life…

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ORIGIN CONT.

Formalist film makers shape and mold the images we see on the screen the way a sculptor shapes and molds clay. Their approach to film emphasizes their ability to create story and emotion through manipulation.

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DIFFERENT VIEWS UNDER FORMALISM NEO-REALISM ANTI-REALISM REALISM AVANT GARDE

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IDEOLOGICAL FORMALISM

Two Examples related to Formalism:•Classical Hollywood cinema•Film Noir

•Focus on how socio-economic pressures create particular style•How it communicates ideas, emotions, themes

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CLASSICAL HOLLYWOOD CINEMA•Distinct style – create closed world on screen•Make experience as pleasant as possible; Audience gets involved

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INSTITUTIONAL MODE OF REPRESENTATION•Dominant mode of film construction

•Production, production, production!•Audience imaginatively involved in film – identify with what’s on camera• 3D space created; Presented with clear pieces

of info• Characters psychologically developed and

distinguished – close-ups, acting• Narrative driven by character psychology

•Continuity editing, three-point lighting, “mood” music

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FILM NOIR

Founded by Nino Frank in 1946 Categorized as “Melodramas” Moved toward “Crime” genre Shot in Urban Environments The main character is “flawed” or

“morally questionable”

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POPULAR MOVIES

1941- The Maltese Falcon 1944- Double Indemnity 1946- The Big Sleep 2000- Memento 2005- Sin City

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FORMALIST THEORY/AUTEUR

Created to redeem the art of film. By arguing that films had authors, films

could be considered works of art like Paintings Literature Music

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FORMALIST THEORY CONTINUED

This theory would give the Director the bulk of the credit and not the screenwriter.

Directors are now at the same level of importance as novelist, composers & painters.

They get recognition for their craft. Film is said to lye somewhere between

theatre and literature.