1. Film Studies
Introduction

2. Table of Contents 1. What is Realism and what is Formalism?
2. The Lumiére Brothers’ Workers Leaving the Factory and George Méliès’ A Trip to the Moon
3. Realism vs. Formalism
4. Problems of Realism and Formalism

3. What is Realism? Dictionary definition
(a) ‘a style of painting and sculpture that seeks to represent the familiar or typical in real life, rather than an idealized, formalized, or romantic interpretation of it’
Collins English Dictionary
(b) ‘… the style of art and literature in which everything is shown or described as it really is in life.
Longman American Dictionary

4. What is Realism?
(c)‘… in the arts, the accurate, detailed, unembellished depiction of nature or of contemporary life. Realism rejects imaginative idealization in favour of a close observation of outward appearances.’
Encyclopaedia Britannica

5. What is Realism? (a) Subject and material (content)
-- the familiar or typical in our daily life
(b) The way in which such a subject and material is represented (method)
-- mimesis (Gk. the imitative representation of nature and human behaviour)
The representation of the familiar or typical in
mimetic manners in literature and visual arts.

6. Boxer of Quirinal, Bronze copy of a Hellenistic Greek scuture

7. Details

8. Old Greek Woman (C 400 BC)

9. Caravaggio, Cardsharps (c 1594-5)

10. Caravaggio, Fortune-Teller (c 1598-9)

11. Johannes Vermeer, Young Woman with a Water Pitcher (c 1664-5)

12. Johannes Vermeer, Woman Reading a Letter

13. What is Realism? Definition in film studies
‘A style of filmmaking that attempts to represent the look of objective reality as it’s commonly perceived.’

14. What is Formalism? Dictionary definition
‘… scrupulous or excessive adherence to outward form at the expense of inner reality’

15. Jackson Pollock, No. 5 (1948)

16. Joseph Albers, Homage to Square (1965)

17. Piet Mondrian, Composition No. 10 (1939-42)

18. What is Formalism? Definition in film studies
‘A style of filmmaking in which aesthetic forms take precedence over the subject matter as content. Time and space as ordinarily perceived are often distorted. For Formalism, film is an art because its properties are exploited to express filmmakers’ own vision’

19. Lumière’s Films Workers Leaving the Factory (1895)
Actualités (actualities) - Recording an everyday
event with a stationary camera placed at eye level
without any editing

20. Lumière’s Films Arrival of a Train at the Ciotat station (1985)
- filmed records of the arrival of a train

21. Lumière’s Films Auguste and Louis Lumière Representation of
the look of reality
as it is commonly
perceived

22. Georges Méliès’ Films
A Trip to the Moon (Le Voyage dans la lune: 1902)
A fantasy about a
rocket journey to the
moon

23. Georges Méliès’ Films Georges Méliès
A stage magician at Theatre Robert-Houdin turned filmmaker.
The first innovator in filmmaking.
The inventor of seminal film tricks

24. Meliés’ Formalism Visual cinematic tricks
Jump cut - a scene is cut in the middle of action
Double exposure - two images are superimposed on the same piece of film
Multiple images - the screen divided into several separate images
Priority given to the display of aesthetic forms and
visual effects over the representation faithful to
reality. Expression of the filmmaker’s own vision
disregarding what it may be in reality.

25. Realism and Formalism Film realism - the Lumière tendencies
Recording reality without changing it
Film formalism - the Méliès tendencies
Recreating reality or presenting a new, different reality

26. Lumiére-Melies Chart (Realism) (Formalism) LUMIERE MELIES
The Blair Witch Project Spiderman
Full Monty The Gold Rush
Documentary Fantasy

27. Realism / Lumière Tendencies
The Blair Witch Project (1999) - a low-budget horror film made as if amateur documentary footage were pieced together. Three students who is making a documentary film on a legend locally known as Blair Witch go missing.

28. Realism / Lumière Tendencies
The viewer is told that they were never found but one year later their camera and films were discovered. The viewer watch the ‘discovered’ footage.

29. Problems of Film Realism
Film as representation of reality
What is filmed is not reality itself but its image
A person who appears on the screen is not herself but her image.
An object who can be seen on the screen is not itself but its image.

30. Problems of Film Realism
René Magritte’s painting of Ceci n’est pas une pipe (This is not a pipe)
The picture is not the pine itself, though it is life-like, but its image.

31. Problems of Film Realism
A film re-presents objects and people
Or re-traces (an event); re-calls (an event); re-produce (reality), re-enact (an event/reality); re-fer to (an event / reality), re-build (reality); re-construct (reality): re-stage (reality / an event)
Film is realization in ‘second-time’ around; thus actions are suffixed with -re; spatially and temporally different from what it shows.

32. Problems of Film Formalism
Even fantasy is constructed on our perception of reality.
It is impossible to create a world totally detached from reality.

33. Problems of Film Formalism
Even a creature from Mars have two eyes, a nose, a mouth, two arms, fingers, and two legs.

34. Coexistence and Interaction
Realism and formalism coexist and interact
Every film is constructed by a dialectic process of film realism and film formalism: of mimicking and changing reality

35. Blade Runner
Ridley Scott’s SF film, Blade Runner was inspired by futuristic or postmodern city- scape of Osaka

36. Blade Runner

37. McLuhan and Annie Hall
Real Marshall Mcluhan appears in Woody Allen’s Annie Hall
In the film, he is only the image of Mcluhan and not himself