Formalist Film Theory Essay

Formalist Film Theory Essay-57
The variations in these physical parameters can also drive the emotion and attention of the viewer. In his oft-quoted and much-modified analysis, given above, he wrote that stories are wholes in three parts.More concretely, in Greek theater, the beginning of a play, the ) thought five acts a folly, he acknowledged that this pattern pervaded English, German, and French plays, but not the Spanish. Act 1 is the The five-part, ordinally symmetric structure also seems to have some cross-cultural resonance.

The variations in these physical parameters can also drive the emotion and attention of the viewer. In his oft-quoted and much-modified analysis, given above, he wrote that stories are wholes in three parts.More concretely, in Greek theater, the beginning of a play, the ) thought five acts a folly, he acknowledged that this pattern pervaded English, German, and French plays, but not the Spanish. Act 1 is the The five-part, ordinally symmetric structure also seems to have some cross-cultural resonance.

The first is in the minds of the story makers and, after the telling, a second recognizable but condensed fabula is in the minds of story consumers. is the dramaturgy of the fiction film, the organized set of cues prompting us to infer and assemble story information.” Again, what is constructed in the mind of the spectator is not at issue here; it will vary with every story and a bit with every individual.

Among the story makers of film—the scriptwriters, directors, actors, cinematographers, editors, and more—the first fabula is a socially, but not wholly, shared complex web of ideas; it is not completely in the head of any single individual., p. It must be, and will have been, extruded through a temporal and sequential bottleneck of physical media to create the syuzhet. Instead, my interest is in the organization of the surface form of movies, its “artfulness,” and in how that might aid the spectator’s understanding and affect her aesthetic experience.

The climax is represented as a high point in the middle, a turning point.

The other four elements are lines that imply duration, even equal duration.

I will demonstrate empirically that this has been the case for the last 70 years and more, and, although I cannot present the evidence here, I would claim much of it applies to global cinema. Storytelling proceeded through millennia of oral tradition, then much later spread through plays and then through literature, so that by the time full-length movies came along a century ago, there was an extremely well-articulated notion of how to tell a story.

This consistency can be said to reduce the cognitive load on the viewer; a formulaic movie can proceed rapidly because it is has been crafted to be easy to understand. The initial formulation of narrative structure is at least 2,500 years old and was promoted by Aristotle.

Those aspects of particular interest here are the first five: editing (shot durations in Study 1, shot transitions in Study 2, the distribution of action shots in Study 9, and of scene transitions in Study 10); staging (motion in Study 3 and character introduction in Study 7); lighting (brightness in Study 4); sound (music in Study 5 and conversations in Study 8); and framing (shot scale in Study 6).) suggested in the opening epigram, movies shouldn’t be looked down upon.

As a story form they can be fine art, emotionally absorbing, thought provoking, educational, and entertaining, all at once (see also Brewer & Lichtenstein, , meaning a shape or mold. A whole is that which has a beginning, middle and end.

In any medium, a narrative can be thought of as a chain of events occurring in time and space and linked by causes and effects. Understanding narrative structure has occupied many disciplines across the humanities and social sciences.

The glory of the Hollywood system lies in its ability to allow its finest scriptwriters, directors, and other creators to weave an intricate web of character, event, time, and space that can seem transparently obvious. 10—11)No one need apologize for being interested in movies.

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