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FORMALIST
FILM
THEORY
By Thomas McWatters, Melissa
Lim, Dan Wargo, Gus Camaraza,
Rocco Rygiel
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…
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.
DIFFERENT VIEWS UNDER
FORMALISM
NEO-REALISM
ANTI-REALISM
REALISM
AVANT GARDE
IDEOLOGICAL FORMALISM
 •Focus on how socio-economic
 pressures create particular style
 •How it communicates ideas,
 emotions, themes
                 Two Examples related to
                 Formalism:
                 •Classical Hollywood cinema
                 •Film Noir
CLASSICAL HOLLYWOOD CINEMA
 •Distinct style – create closed world on screen
 •Make experience as pleasant as possible; Audience
 gets involved
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
Formalist film theory presentation
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”
POPULAR MOVIES

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

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Formalist film theory presentation

  • 1. FORMALIST FILM THEORY By Thomas McWatters, Melissa Lim, Dan Wargo, Gus Camaraza, Rocco Rygiel
  • 2. 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…
  • 3. 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.
  • 5. IDEOLOGICAL FORMALISM •Focus on how socio-economic pressures create particular style •How it communicates ideas, emotions, themes Two Examples related to Formalism: •Classical Hollywood cinema •Film Noir
  • 6. CLASSICAL HOLLYWOOD CINEMA •Distinct style – create closed world on screen •Make experience as pleasant as possible; Audience gets involved
  • 7. 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
  • 9. 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”
  • 10. POPULAR MOVIES 1941- The Maltese Falcon 1944- Double Indemnity 1946- The Big Sleep 2000- Memento 2005- Sin City
  • 11. 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
  • 12. 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.