Formalist film theory
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Formalist film theory is an approach to film theory that is focused on the formal or technical elements of a film: i.e., the lighting, scoring, sound and set design, use of color, shot composition, and editing. This approach was proposed by Hugo Münsterberg, Rudolf Arnheim, Sergei Eisenstein, and Béla Balázs.[1] Today, formalist film theory is a recognized approach in film studies.
Overview
[edit]Formalism considers the synthesis of the multiple elements of film production, and the effects, emotional and intellectual, of that synthesis and of the individual elements. For example, a formalist views standard Hollywood "continuity editing" for how it creates a comforting effect and non-continuity or how jump cut editing becomes disconcerting.[citation needed]
A formalist considers the synthesis of several elements, such as editing, shot composition, and music. The shoot-out that ends Sergio Leone's Spaghetti Western Dollars Trilogy is an example of how these elements work together to produce a formalist effect: the shot selection goes from very wide to very close and tense; the length of shots decreases as the sequence progresses towards its end; the music builds. All of these elements, in combination rather than individually, create tension.[citation needed]
Formalism incorporates ideological and auteurist branches of criticism. In both these cases, the common denominator for formalist criticism is style. Ideologues focus on how socio-economic pressures create a particular style, and auteurists on how auteurs put their own stamp on the material. Formalism is concerned with style and how the film communicates ideas, emotions, and themes rather than on the themes of a work itself.[citation needed]
Formalism in ideological approaches
[edit]Two examples of ideological interpretations that are related to formalism are the classical Hollywood cinema and film noir.[citation needed]
Classical Hollywood cinema
[edit]Classical Hollywood cinema uses a style referred to as the institutional mode of representation: continuity editing, massive coverage, three-point lighting, "mood" music, and dissolves. The socio-economic ideological explanation for this is style involves Hollywood's desire to monetarily profit and appeal to ticket-buyers.[citation needed]
Film noir
[edit]Film noir, which was given its name by Nino Frank[relevant? – discuss], is marked by lower production values, darker images, under lighting, location shooting, and general nihilism: this is because during the war and post-war years filmmakers and filmgoers tended to have a pessimistic outlook. Also, the German Expressionists[2] immigrated to America and brought their stylized lighting effects and disillusionment due to the war to American soil.[3]
See also
[edit]- Clement Greenberg
- Clive Bell
- Formalism (art)
- Medium specificity
- Neoformalism (film theory)
- Russian formalism
- Structuralist film theory
Notes
[edit]- ^ Dudley Andrew, The Major Film Theories: An Introduction, Oxford, New York: Oxford University Press, 1976, Part I.
- ^ Phillips, Gene D. (2012). Out of the Shadows: Expanding the Canon of Classic Film Noir. Scarecrow Press. ISBN 978-0-8108-8189-1.
- ^ Hunt, Kristin (May 21, 2020). "How Fritz Lang's Flight from Nazi Germany Shaped Hollywood". Daily.JStor. JSTOR. Retrieved June 21, 2024.
References
[edit]- Bordwell, David, Film Art: An Introduction; McGraw-Hill; 7th edition (June 2003).
- Braudy, Leo, ed., Film Theory and Criticism: Introductory Readings; Oxford University Press; 6th edition (March 2004).
- Gianetti, Louis, Understanding Movies; Prentice Hall; 10th edition (March 2004)
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