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Title: Film%20Studies


1
Film Studies
  • Reality Effects and Truth Effects

2
Table of Contents
  • 1. Recap
  • 2. Take a Photograph or Make a Photograph
  • 3. Reality effects and truth effects

3
Recap
  • Film Realism - a style of filmmaking in which an
    attempt is made to represent something familiar
    or typical without changing it.
  • Realist film - a type of films which are
    characterized for such a style

4
Recap
  • Film Formalism - a style of filmmaking whose
    primary concern is form to the extent reality is
    willingly altered or new reality is recreated.
  • Formalistic film - a type of films which are
    characterized for such a style.

5
Recap
  • PROBLEMS OF FILM REALISM
  • Film is not reality itself but the representation
    of it. Thus, filmed reality is subject to
    filmmakers alteration and manipulation.
  • Imaginary relationship between the audience and
    the screen - a relationship in which the audience
    cannot distinguish the difference between
    him/herself and the character on screen.
  • The parody of such a relationship

6
Recap
  • When the audience takes people on the screen as
    real.
  • Imaginary relationship the illusion that screen
    reality is part of actual reality
  • Jacques Lacan and Christian Metz
  • Imaginary and symbolic relationships
  • Woody Allens Play it Again, Sam (1985)

7
Recap
  • PROBLEMS OF FILM FORMALISM
  • It is impossible to create anything which has
    nothing to do with the reality we perceive the
    filmmaker always rely on what he/she knows, has
    learned and experienced in real life.
  • Symbolic relationship between the audience and
    the screen - a relationship in which the audience
    is well aware of the difference between his/her
    and the screen realities.

8
Recap
  • Ridley Scotts Blade Runner a SF film about Los
    Angeles in 2019 is inspired by the cityscape of
    Osaka around 1980.

9
  • cloudland

10
Recap
  • Realism and formalism coexist and interact in
    every film
  • Our task is
  • - to identify the extent to which a film is
    realistic, formalistic or both
  • - to explore how filmmakers achieve realism or
    formalism

11
Take or Make a Photograph
  • Photography is a modern invention which has
    enabled us to record reality as it really is.
  • Question Is photography an objective reflection
    and recording of reality?

12
Take or Make a Photograph?
  • Choices of exposure and shutter speed
  • - reflect photographers intention.

13
Take or Make a Photograph
  • John Constables two drawings of the same spot.
  • Dedham from Langham

14
Take or Make a Photograph
  • Composition
  • Photographer finding an interesting moment
  • Photos by Henri Cartier-Bresson

15
Take or Make a Photograph
  • The choice of colour or black and white
  • - reflects Aesthetic choice

16
Take or Make a Sketch
  • John Constables series of paintings of the sky

17
Take or Make a Sketch
  • Constables studies on cloud-formation based on
    Alexander Cozens

18
Reality Effects and Truth Effects
  • Film is not, no matter how realistic it is, the
    simple, objective recording of reality but the
    rearrangement of it.
  • Virtual reality, O.K. You know what virtual
    means? O.K., it is like really real. So virtual
    reality is practically, totally real. But not.
    -- Jennifer Jason Leigh as Lois Kaiser in Robert
    Altmans Short Cuts

19
Reality Effects and Truth Effects
  • Realism is a relative concept in two senses
  • 1) There is no pure or perfect form of realism.
    Some films are more realistic than others.
  • 2) The filmmakers and the viewers ideas of
    reality are relative.
  • An alternative way to describe realism
  • To discuss realism in terms of effects which a
    film create on the audience.

20
Reality Effects and Truth Effects
  • Reality Effects - they come into being when
    representations in moving images give the
    audience the impression that they mimic the
    facticity of the world around us, or surface
    appearance. Roland Barthes

21
Reality Effects and Truth Effects
  • Truth Effects - they come into being when
    representations in moving images agree with
    viewers ideas of what is true about the world in
    a general sense. They have to do with whether
    texts conform to what she generally believes
    about experience. Michel Foucault

22
Reality Effects
  • Richard Attenboroughs biographical film, Gandhi,
    imitates how Mahatma Ghandi looked, how he spoke,
    how the world in which he lived looked like and
    what his life was like - creation of an
    impression that the film is mimicing facticity,
    that is, a reality effect.

23
Reality Effects
  • Jinnah and Ghandi Hunger strike Opening
    Assassination

24
Reality Effects and Truth Effects
  • Moving images have truth-effects even when they
    are objectively untrue. They have truth
    effects as long as they agree to what the
    audience believes true.
  • Samuel Fullers House of Bamboo (US, 1955)
    display the images of Japan and Japanese women.
    False for those who know Japan and Japanese women
    but true for those who believe them true.

25
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26
Reality Effects and Truth Effects
  • Truth Effects
  • Idealist approach to our cognition
  • Things do not exist in themselves. They exist
    only as ideas that each of us has of them.
  • Reality Effects
  • Materialist approach to our cognition
  • Things exist independently of the individuals
    knowledge of them.

27
Reality Effects and Truth Effects
  • Materialist conception Idealist
    conception

28
Film Realism and Reality/Truth Effects
  • Our impression of moving images being realistic
    or not depends on both reality and truth effects
    that they exert on us.
  • Reality and truth effects as alternative to film
    realism

29
Reality and Truth Effects
  • Describe reality and truth effects found in
    Richard Curtis Casablanca (1942)
  • Casablanca Opening

30
Reality and Truth Effects
  • Describe reality and truth effects found in
    Bernardo Bertoluccis Sheltering Sky (1990)

31
Reality Effects and Truth Effects
  • Impression of authenticity for another type of
    the viewer
  • Richard Curtiss Casablanca (US, 1942)
  • Impression of authenticity for a type of the
    viewer
  • Gino Pontecorvos La Battaglia di Algeri (Italy,
    1966)
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