1. Film Studies Reality Effects and Truth Effects

2. Table of Contents 1. Problems of Film Realism and Formalism 2. Take a Photograph or Make a Photograph 3. Reality effects and truth effects

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

4. Realism / Lumière Tendencies The Full Monty (1997) by Peter Cattaneo: a British comedy about six unemployed men trying to form a male striptease group to support themselves and their families.

5. Mostly showing Lumière tendencies but some parts Méliès tendencies: photography in a realist style and fancy narrative

6. Formalism / Méliès Tendencies Gold Rush (1925) by Charlie Chaplin: a silent comedy about a trump going to the Yukon to take part in the Klondike Gold Rush but being stranded in a cabin by snow storm. The Gold Rush

7. Mostly formalist film with Chaplin’s fantastic mime and impressive comic performance, but realist elements are also included such as location shooting and real historical reference.

8. 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.

9. Problems of Film Realism René Magritte’s painting of of Ceci n’est pas une pipe (This is not a pipe) The picture is not the pipe itself, no matter how lifelike it, but its image.

10. Marshall McLuhan’s cameo appearance in Woody Allen’s Annie Hall In the film, he is only the image of McLuhan and not himself

11. 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’; thus actions are suffixed with -re; spatially and temporally different from what it shows.

12. Problems of Film Formalism Even fantasy, fantastic images, and forms are constructed on our perception of reality. It is impossible to create a world totally detached from reality.

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

16. 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

17. Coexistence and Interaction Ridley Scott’s SF film, Blade Runner was inspired by futuristic or postmodern reality – the cityscape of Osaka

20. Problems of Film Realism and Formalism Film is not reality itself but the representation of it. Thus, filmed reality is subject to filmmaker’s interpretation and manipulation. It is impossible to create anything which has nothing to do with the reality we perceive; the filmmaker always rely on what he/she knows, has learned and experienced in real life. Filmmaker’s imagination and creation is controlled by real existence.

21. Problems of Film Realism and Formalism Realism and formalism coexist and interact in every film Our task is: - to identify the extent to which a film is realistic, formalistic or both; - to explore how filmmakers achieve realism or formalism

22. Take or Make a Photograph Photography is a modern invention which has enabled us to record reality ‘as it really is.’ Question: Is photography an objective recording of reality as it is?

23. Take or Make a Photograph? Choices of exposure and shutter speed They reflect the photographer’s intention

24. Take or Make a Photograph John Constable’s two drawings of the same spot. Dedham Vale from Langham

27. Take or Make a Photograph Photographer finds an interesting moment and compose. Photos by Henri Cartier-Bresson

30. Take or Make a Photograph The choice of colour or black and white It depends on photographer’s aesthetic sensibility.

31. Take or Make a Sketch John Constable’s series of paintings of the sky

32. Take or Make a Sketch Constable’s studies on cloud- formation based on Alexander Cozens

33. Problems of Realism Constable did not simply record reality but learned how it looks. Artist learns how to record reality. Filmmakers, even those of realist film, watch and learn how they record and film reality. Filmmakers always interpret and alter the form of reality.

34. Reality Effects and Truth Effects Film (like photography and painting) is not, no matter how realistic it is, the simple, objective recording of reality but the rearrangement of it. ‘Virtual reality, O.K. You know what virtual means? O.K., it is like really real. So virtual reality is practically, totally real. But not. -- Jennifer Jason Leigh as Lois Kaiser in Robert Altman’s Short Cuts

35. Reality Effects and Truth Effects ‘Realism’ is a relative concept in two senses 1) There is no pure or perfect form of realism. Some films are only more realistic than others. 2) The filmmaker’s and the viewer’s ideas of reality are relative. An alternative way to describe realism To discuss realism in terms of effects which a film create on the audience.

36. Ivan Shishikin’s Oak Grove Ultimate realism

37. Camile Pissaro’s The Boulevard Montmartre ‘If you ask me what the world looks like to me, it looks like a painting of Pissaro. E.H. Gombrich

39. Reality Effects and Truth Effects An alternative way to describe realism (and formalism) To discuss realism (and formalism) in terms of effects which a film (or art and literature) create on the audience.

40. Reality Effects and Truth Effects ‘Reality Effects’ - they come into being when representations in moving images give the audience the impression that they mimic the ‘facticity’ of the world around us, or surface appearance. Roland Barthes

41. Reality Effects and Truth Effects ‘Truth Effects’ - they come into being when representations in moving images agree with viewer’s ideas of what is true about the world in a general sense. They have to do with whether texts conform to what she generally believes about experience. Michel Foucault

42. Reality Effects Richard Attenborough’s biographical film, Gandhi, imitates how Mahatma Ghandi looked, how he spoke, how the world in which he lived looked like and what his life was like - creation of an impression that the film is mimicking facticity, that is, a reality effect.

43. Reality Effects Jinnah and Ghandi Hunger strike Opening AssassinationJinnah and Ghandi Hunger strike OpeningAssassination

44. Reality Effects and Truth Effects Moving images have ‘truth-effects’ even when they are ‘objectively’ untrue. They have truth effects as long as they agree to what the audience believes true. Samuel Fuller’s House of Bamboo (US, 1955) display the images of Japan and Japanese women. False for those who know Japan and Japanese women but true for those who believe them true.

46. Film Realism and Reality/Truth Effects Our impression of whether moving images being realistic or not depends on both reality and truth effects that they exert on us. Reality and truth effects as alternative to film realism

47. Analyse the reality and truth effects that Gillo Pontecorvo’s The Battle of Algier exerts on you. Battle of Algiers