Style/Realism Notes
CTCS 190: Lecture/Discussion Notes
Style/Mode of Representation • Another voice into the production/consumption of a film text • Particular film is rendered in a particular style; has to be addressed by consumer • Objectivity v. Realism Realism • Mode of representation that attempts a 1:1 correspondence with reality with how the subject is depicted (in film, artwork, etc.) — exactly how a person sees it • Never possible to have exact realism • Everyone’s reality is different • Ideology — relative truth, truth that can be verified in experience • Character — actions, dialogue — motivations • Character as a social animal (part of a specific culture, setting, time, etc.) • Faults of the character • Common, average, day-to-day situations • Bleak and/or ambiguous endings • Content is more important than form • De-mystify reality, leave spectator thinking about the reality • Floats (changes) according to space and time • Degrees of Realism French Poetic Realism, Neorealism • Unvarnished “reality” • Two for the Road, neorealism • Hud example of realism • Psychological dimension, sociological connection • Also in fiction films Subjective • Says you can render reality well • Go beyond, expand to see how other sees subjects Formalism • Techniques, structures • Mold, imposes reality • Important: both form and content • Poeticize reality, term floats/changes over time and space Different art forms change what is being represented; you can emphasize one thing over another Emphasis on the creator’s talent and representation of the subject
• Film is self-reflective • Tells about the art form Unconscious, subjective states of soul — subjects German Expressionism Constructivism/Soviet Expressive Realism • Hollywood does Hollywood • Film Noir • Production design, decor, costume, hairstyle Not Real/Subjective: Only see the inside of the car; shaking back and forth (camera movement as well) Lighting, let them go by every so awesome; strobe lights Pouring rain, cars screeching —
Style/Mode of Representation • Another voice into the production/consumption of a film text • Particular film is rendered in a particular style; has to be addressed by consumer • Objectivity v. Realism Realism • Mode of representation that attempts a 1:1 correspondence with reality with how the subject is depicted (in film, artwork, etc.) — exactly how a person sees it • Never possible to have exact realism • Everyone’s reality is different • Ideology — relative truth, truth that can be verified in experience • Character — actions, dialogue — motivations • Character as a social animal (part of a specific culture, setting, time, etc.) • Faults of the character • Common, average, day-to-day situations • Bleak and/or ambiguous endings • Content is more important than form • De-mystify reality, leave spectator thinking about the reality • Floats (changes) according to space and time • Degrees of Realism French Poetic Realism, Neorealism • Unvarnished “reality” • Two for the Road, neorealism • Hud example of realism • Psychological dimension, sociological connection • Also in fiction films Subjective • Says you can render reality well • Go beyond, expand to see how other sees subjects Formalism • Techniques, structures • Mold, imposes reality • Important: both form and content • Poeticize reality, term floats/changes over time and space Different art forms change what is being represented; you can emphasize one thing over another Emphasis on the creator’s talent and representation of the subject
• Film is self-reflective • Tells about the art form Unconscious, subjective states of soul — subjects German Expressionism Constructivism/Soviet Expressive Realism • Hollywood does Hollywood • Film Noir • Production design, decor, costume, hairstyle Not Real/Subjective: Only see the inside of the car; shaking back and forth (camera movement as well) Lighting, let them go by every so awesome; strobe lights Pouring rain, cars screeching —