Film Theory: Formalism

Formalism and Film

A Look Behind Formalism

Elements of the story can be open to interpretation.

The majority of formalist films engrosses the viewer into the visual world by paying attention to fine detail.

Formalism can be used in post-production as well. E.G. syncing actions to non-diegetic sounds, rapid cuts, enhanced visuals, etc.

What is Film Formalism?

Hugo Munsterberg and "The Means of the Photoplay" Applied

Works Cited

What are Some Shortcomings of This Theory?

What are Some Values of this Theory?

Slight contradiction: "The "practical" use of film does not fit his [Munsterberg] aesthetical definition of film as an "isolated" art art from which demands aesthetical contemplation from its audience." - Nyyssonen

Munsterberg's aesthetical views exclude film from the practical view of life. The audience can still relate to film from a practical (non-isolated) view of life.

Giannetti, Lewis - "Understanding Film"

Langdale, Allan & Munsterberg, Hugo - "Hugo Munsterberg on Film: The Photoplay: A Psychological Study and Other Writings

Nyyssonen, Pasi - "Film Theory at the Turning Point of Modernity" - www.film-philosophy.com

Sheperdson, Karen J. - "Film Theory: Critical Concepts in Media and Cultural Studies, Volume 1"

The photoplay causes us to use our imaginations while adding movement to static and flat pictures/images.

These elements sometimes convey hidden messages and emotions.

The photoplay and formalism of film draw us closer to reality rather than the pantomime of the stage (theatre).

How Should We Understand Film?

Film simply isn't for entertainment purposes.

Film isn't confined to a limited space which causes us to expand our imaginations.

Film doesn't have to be bound by space or time.

Hugo Munstenberg

Terms Used

Photoplay - Continuous movement and break up of pictures/images into a rapid succession of instantaneous impressions.

"When beginning the photoplay, we are dealing with persons, places, and things of which the audience has no previous knowledge." - Clarence Badger

German psychologist

Took cognitive and scientific approaches to film theory.

"To picture emotions must be the central aim of the photoplay".

Munsterberg's Main Ideas

We have overcome reality and escaped from our everyday lives.

Photoplay overcomes forms of the outer world by adjusting the forms of the inner world.

The overarching power the screen has over the stage (theatre).

A subjective theory that depicts one's relationship to the world through the complex artistry and strict focus of a filmmaker who prioritizes the artistic elements of a film over story and outer structure.

Much more attention to creative elements that go from large to the most minute details. Large focus on Mise én Scene.

Pays close attention to the internal structure and form of the film.

We overcome reality, escape from our ordinary lives, we do not see the objective reality but what our imaginations create, photoplay, the photoplay succeeds in doing what theater does not even attempt, pyschological, overcomes forms of outer world by adjusting the forms of the inner world, we must take notice that the photoplay stands nearer to life than the pantomime on stage performance,

Examples of Formalistic Directors

Painting vs. Color Photography

The painter has a perfectly free hand with color and form in presenting nature

Color Photography is forced to record mechanically the light values of physical reality.

Black and white photography had its own independent art form.

Alfred Hitchcock - "Psycho"

Rob Marshall - "Chicago"

Wes Anderson - "Moonrise Kingdom"

Stanley Kubrick - "The Shining"

Rudolf Arnheim's "Film and Reality"

-Doesn't have to be art

-Principals of film art

-Artistry of lens

"Film and Reality"

-Silent film v sound

-Technical specifics

-Dialogue, symbolism, effects

Additional Source: Sergei Eisenstein

-Montage

-Composition

-Acting

Gestalt Psychology

Additional Source: Thomas Elsaesser

-Digital cinema

-The frame continues

-Complex storytelling done well

Basis of Arnheim's film theory

A theory that looks at human perception

"The whole is greater than the sum of its parts."

Believed the limitations of films make them more suited for artistic purposes.

Sound Films

Painting vs. Color Photography

Color Films

The Sad Future of Film (1930)

First step towards mechanical imitation of nature

Destructive for Cinema

Inartistic demand for the greatest possible "naturalness"

Media must discover and attain purity

Camera will become an immobile recording machine

The potential of film will be the same as those on a stage

The artistic part of the work will be more focused upon what is set up and enacted before the camera

Will not be considered a separate art form

"Film is not an art of the masses, except it must amass a profit at the box office."

Audiences want more technological advances

People would rather have pictures than a Bible

The painter has a perfectly free hand with color and form in presenting nature

Color Photography is forced to record mechanically the light values of physical reality

Black and white photography had its own independent art form.

How Arnheim Viewed Films

The Complete Film

Saw films as abstract as the do not relate to the senses of touch, taste or smell.

Contends that the raw material of cinema is provided by the limitations of films (two dimensionality, lack of color and sound)

Favorite film.. The Docks of New York (1930)

No such thing as "The Complete Film."

Technological advances

"The complete film is certain to be considered an advance upon the preceding film forms, and will supplant them all."