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Cinematic realism
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Cinematic realism is a very subjective theory. As are most theories when it comes to cinema. The idea that a film can be entertaining, yet showcase and represent the world around us, is a fascinating subject. What’s most interesting though, is the subjections that comes with realism. Does a film have to be a completely accurate picture of the world in order to realistically represent it? There are arguments for both sides, but ultimately realism in cinema is subjective, because people’s view of the world is subjective. Reality for you can be completely different for someone else. The same way a movie can be an accurate representation to you, but the complete opposite to someone else. Andre Bazin claims cinema realism stems from the origins …show more content…
Can we see the world around us, how it works, and its problems, represented in a film? The answer is a controversial yes. It is arguable that film is one of the most versatile forms of art, when it comes to depicting reality. Kendall Walton says, “When we look at a movie screen, we see objects, people, and places in or through that screen. Weaker versions appeal to something other than physical reality, either by discussing a truth beyond mere appearance or by endorsing psychological realism, a view according to which films are realistic insofar as they engage our ordinary perceptual processed” (Walton, 251). A realistic film absolutely can showcase reality, but the controversy is how realistic does a film have to be, in order to be labelled as a realism film? This of course is very subjective, and ultimately depends on who you ask. Someone who is into hard core realism, would argue that the film would have to basically be a documentary style piece. No elements of fantasy, science fiction, or anything that would stretch the frame of reality as we know it today. But, if you allow yourself to look deeper into films that are seemingly ridiculous as far as realistic accuracy; you’ll find that there are more movies with realism elements than
"Realism in, art and literature, [is] an attempt to describe human behavior and surroundings or to represent figures and objects exactly as they act or appear in life" (Realism 1). During the 1840's through the 1890's realism was present in much of the literature from the United Sates and Europe. It has been said that realism is easily visible in many pieces of modern literature and even in present day films. In 2001, the movie Training Day was released into theaters. Many critics agreed that the movie was very realistic. In fact, the main actor Denzel Washington was presented with an academy award for his performance in Training Day. Training Day can be considered realistic, but many aspects of the film show little realism.
Although reality involves a vast supply of details and you can not select them all. Many writers, directors, and artists, emphasis with this information and diminish other information in order to make the novels, movies, plays and etc. more vivid to our imagination.
Classical Hollywood Cinema is a chain of events that has a cause – effect relationship within a time and space. The environment looks realistic and believable to the viewers because the style is predictable, and the time is linear throughout the film. Each scene with the development of the plot and story is motivated by cause and effect. The filmmaking process involves four major steps that cut across the board. The process revolves around these levels that make it orderly to every individual involved in filming. The process has the following stages: Idea and Development, Pre-Production, Production and Post- Production. In Idea and Development it is normally
Realism, in philosophical terms, refers to the concept that there is a reality beyond our perception. This means that how we see things and what we believe about them has no impact on the nature of said things. For example an individual may see an object as blue and another see the same object to be red, this is merely a disagreement between both parties about how they should label the colour. This wouldn’t mean that both parties are discussing different objects, this shows that no matter what individual’s beliefs or thoughts on the real world are only ever approximations and do not accurately capture reality. (O’Brien, M and Yar, M, 2008)
Realism in film is significance in actual and present things, and how things actually come out. now, it is afar the capacity of this part to converse the extent of realism, we support are description upon things such as sanity, experiences, believes, manner and extra communal things such as olden times, political affairs, and finances. No matter how we identify authenticity, realism in film can be judged by administrating what we observe in own world and the world of others. Realism is also a way of conducting subject matter that follows everyday life. Practical characters are anticipated to do things that are conventional to our prospect of real people.
To begin, the idea of two realisms is first illustrated in the opening sequence of the film and continues throughout the length of the story. For example, the neighborhood shown in the film is very staged, with warm and soft lighting, providing a calm, serene feeling.
When “Working class realism” emerged within British cinema in 1956, it became acknowledged as a break of determination to tackle certain social and real issues. This was presented as a “New Wave” within British film and offered an opposition to the original procedures and approaches to British Cinema. “Working class realism” an analytical piece by John Hill, reveals to us how, coinciding with the 'new Britain' that was stabilizing and evolving after the war, was a 'New wave' of British social problem films. They were acknowledged for the fact that they were 'realist' films with a purpose to reveal the reality of Britain onto the film screen without disguising it with the 'Hollywood style' facades. This new concept involved the revolutionary move to include the industrial working class within it and diverse from the social groups previously portrayed through film.
Realism occurs everyday, one may not know but its the reason why know not everyone gets to live their lives to a happy ending, its the reason why sometimes you can't get everything you want in your life. Realism is the attitude or practice of accepting a situation as it is and being prepared to deal with it accordingly. Realism is a trend which takes place in the nineteenth century during which literature depicted life "as is," and focuses on real life. This literary movement frequently depicted everyday life; it follows the rule of a phenomenal world and that nothing is added to your life. It is the reverse job of what a filter would do to all the troubles that one may encounter later in life. Realism is represented in Kate Chopin's short stories The Story of an Hour and A Pair of Silk Stockings. In both the short stories, the main characters get to face a dream/fantasy that they’ve always wanted to encounter; something rare that lasted only for a short amount of time. The freedom that each character got was some sort of new freedom that they never experienced before. For example in The Story of an Hour, the main character Louise Mallards is feels oppressed because she can't live for herself. She realizes at the end that her husband was alive the whole time and that her short fantasy came to an end. She thought that it would last forever until the death of her but she was wrong. Another example of realism is A Pair of Silk Stockings, the main character of this story was Little Mrs Sommers. She finds fifteen dollars on the floor and this feeling of having this much money eventually controls her until its all gone. Her lack of being able to control herself and curiosity controls her and the money. W...
The "Movie Up Close and Personal," is a modern-day story about a young reporter, Tally Atwater (Michelle Pfeiffer), who is determined to make a place for herself in the broadcasting field as a news reporter. At a Miami, Florida based station, where she is given her first chance at making it, Atwater meets Warren Justice (Robert Redford), a well known reporter who has irritated some important people in his career. Justice shows Atwater the ropes of becoming a successful news reporter and in the process, they fall in love. As the story progresses, the viewer is taken on a journey which consists of Tally Atwater's rise in the field as well as the budding romance between herself and her mentor, Warren Justice.
Realism is a style of writing which shows how things are in life. It showed how mostly every person thought life was just perfect. They were not seeing the
In this essay I will look at the emergence of Italian neo-realist cinema and how Italian Neo-realism has been defined and classified in the film industry as well as how its distinct cinematic characteristics could only have been conceived in Italy and how these characteristics set the neo-realist style apart from other realist movements and from Hollywood.
The theories of the window and frame had its origins in the schools of formalism and realism. Both schools main objective was to amplify the prestige of film. During that era of film was an upstart sideshow attraction, high class form of entertainment was the theater and the visual art forms of paintings and statues. Both schools saw cinema as a way of looking a through an aperture but keeping the audience at a distance from the subject on the screen. Whether looking through at frame or looking through a window the audience would be viewing the subject matter but they would only be able to absorb it. That’s where the similarities end the formalist lead by theorist Sergei Eisenstein saw film as frame and would create shock in an attempt to provoke or raise consciousness. Sergei Eisenstein would create what he wanted to the audience to see in his films. For example in the Battleship Potemkin Eisenstein wanted to address the situation with Russia and he created the situation in his film to incite a revolution by creating chaos. The realism school lead by André Bazin saw cinema as window. To Bazin a spectator would be apart of the film as more of a witness more than just a spectator. In the movie Rear Window Jefferies was witness to his neighbor wife murder while looking through window because while looking through a window what one sees is real.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Adaptation of any kind has been a debate for many years. The debate on cinematic adaptations of literary works was for many years dominated by the questions of fidelity to the source and by the tendencies to prioritize the literary originals over their film versions (Whelehan, 2006). In the transference of a story from one form to another, there is the basic question of adherence to the source, of what can be lost (Stibetiu, 2001). There is also the question of what the filmmakers are being faithful to or is it the novel’s plot in every detail or the spirit of the original (Smith, 2016). These are only few query on the issue of fidelity in the film adaptation.
The ‘Modern’ era began, approximately, in the mid-1800s (Worthen), following its predecessor the Romantic period, which was an era that was emotionally charged ad focused on the physical relationships between characters and being one-with-nature, rather than the focus of the modernist period which was to bring social and political issues or statements into the storyline of a script whilst still keeping the stage, characters and overall performance aesthetically pleasing for the audience of the particular period. Modernism in the theatre is the act of bringing the stage and the forms of modern life, at one time, to a critical relationship. As stated by Worthen, the modernist period or the modern world we live in today began in the mid-1800s