Formalism And Realism In Tim Burton's 1990 Edward Great Film
When producing a film, there are two techniques that can be applied. The first being realism, where the importance of the story overshadows the art of production. Second being Formalism, where an emphasis is placed on the production of the film, often resulting in enhances visuals and sounds effects. Although production has advanced since the first motion pictures in the 1890s, the key components of a good film hold steady. Formalism and Realism are accomplished in all great movies. Formalism is the theory that focuses on the elements of a film, which include set design, sound, lighting and filming. These elements are emphasized or dramatized to give special importance to a certain idea or scene. The set design in Tim Burton’s 1990 Edward
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Although formalism enhances a story and is excellent for driving a point home, realism is the art of telling a good story and making it believable. Kamilla Elliott states, “formal theories from aesthetic formalism to poststructuralism fail to explicate what transfers in adaptation in any convincing or satisfactory way” (Elliot). She is referring to the idea, more that aesthetics are needed to create a good story. Elliot expresses that no form of formalism has the ability satisfy someone in its entirety. Rather, the story must be interesting as well. The ability to properly use both is what makes a film great. The Godfather is one of the most acclaimed films in cinema history. Hence, it uses both formalism and realism to the highest degree possible of that era. Realism can be seen throughout the film, but is obvious intimate scenes where a major part of the story is being developed. An example is when Michael Corleone approaches Apollonia’s father to ask for his daughter’s hand in marriage. During the conversation the camera still. The only light seen is what is naturally provided by the sun and the scenery is normal for that area and time period. This allows the viewer to focus on the conversation and not be distracted by external factors. Formalism has an important roll in The Godfather as well. When Jack Woltz declines Don Corleone’s offer to let Johnny play in a movie, Corleone sends a message to Woltz. He kills his prized six hundred thousand dollar horse and leaves his head in Woltz’s bed while he was sleeping. When Jack wakes up he sees the horse and screams. The camera shoots scenes further and further away, but the scream was still high pitch and heard clearly from afar. This was to show how angry Woltz is. In reality, no one can be heard that clearly and from that distance. Francis Ford Coppola made this decision to highlight the effect Don Corleone has on his
Although formalism enhances a story and is excellent for driving a point home, realism is the art of telling a good story and making it believable. Kamilla Elliott states, “formal theories from aesthetic formalism to poststructuralism fail to explicate what transfers in adaptation in any convincing or satisfactory way” (Elliot). She is referring to the idea, more that aesthetics are needed to create a good story. Elliot expresses that no form of formalism has the ability satisfy someone in its entirety. Rather, the story must be interesting as well. The ability to properly use both is what makes a film great. The Godfather is one of the most acclaimed films in cinema history. Hence, it uses both formalism and realism to the highest degree possible of that era. Realism can be seen throughout the film, but is obvious intimate scenes where a major part of the story is being developed. An example is when Michael Corleone approaches Apollonia’s father to ask for his daughter’s hand in marriage. During the conversation the camera still. The only light seen is what is naturally provided by the sun and the scenery is normal for that area and time period. This allows the viewer to focus on the conversation and not be distracted by external factors. Formalism has an important roll in The Godfather as well. When Jack Woltz declines Don Corleone’s offer to let Johnny play in a movie, Corleone sends a message to Woltz. He kills his prized six hundred thousand dollar horse and leaves his head in Woltz’s bed while he was sleeping. When Jack wakes up he sees the horse and screams. The camera shoots scenes further and further away, but the scream was still high pitch and heard clearly from afar. This was to show how angry Woltz is. In reality, no one can be heard that clearly and from that distance. Francis Ford Coppola made this decision to highlight the effect Don Corleone has on his