CinemaFinalOutline

CinemaFinalOutline - Modes of Representation: Realism and...

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Modes of Representation: Realism and Formalism o Mode of Representation Definition Manner in which a film is conceived o Realism – a mode of representation that attempts a 1-to-1 correspondence between art and reality Mimetic – imitates real life Minimally subjective, tries to achieve objectivity Ideology Attempts to reveal things in their true form Action focused on character motivation and psychology Individual presented as a social animal involved in society Involves everyday people and situations Wants audience to recognize itself in the film Dips into controversial topics Little form or style Demystifies reality Tailored for audience Colored by setting Types of Realist Filmmaking Primitive Realism/Photojournalism o Camera placed in such a way as to record the reality of movement as a spatial-temporal whole Naturalism o Image of man as determined by heredity, instinct, and environment o Records surface details as well as root causes Hollywood’s Classical Realism o Transparency in technique, immersing the audience into the characters and situations, thus accepting them as real o World as homogenous, larger-than-life, and idealized o Young, beautiful people who are morally good protagonists o Morally evil people as antagonists o Poetic justice, triumph of good over evil o World is meaningful o Tensions in society are brought up but smoothed out in the end o Reaffirmation of patriarchic capitalism despite probing alternatives o Closure and upbeat ending o Heterosexual romance
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o Patriotism Hollywood Social Realism o Proletarian, nitty-gritty quality o Focus on interaction of the individual within social institutions o Highly cynical attitude toward social institutions o Common man as protagonist, especially the worker or society’s loser o Smart, tough, hard-boiled dialogue o Cast of actors with average, ordinary, “mean-in-the- street” looks French Poetic Realism o Focus on working-class, urban protagonist who is severely alienated and disaffected, up against class politics and modern industrialization o Symbolic/allegorical dimension to story which is organized around a single consciousness o Character, setting, poetic dialogue all built from highly realistic details Italian Neo-Realism o A concern for the people of Italy, particularly the working and unemployed classes, the innocent children, the outcasts, bandits, and prostitutes, as they tried to rise again out of the ashes of the war o The reality of the streets, peopled with actors and non-professionals, wherein an occurrence’s actual duration and spatialization were respected with lighting playing a minor expressive role, dictated by camerawork o Exposing problems, while urging that something be done about them English Free Cinema/Proletarian Realism o A focus on the common man that included a topicality reflecting all of Britain, not just the metropolitan parts, while blatantly scoffing at the
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This note was uploaded on 02/08/2008 for the course CTCS 190 taught by Professor Casper during the Fall '07 term at USC.

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CinemaFinalOutline - Modes of Representation: Realism and...

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