Perspectives of Bazin and Kracauer on Realist and Formalist Tendencies in Film - Essay Example

?Film Theory The history of cinema is also a history of film theory. One of the crucial dividing periods of the evolution of cinema occurred with the1928 advent of sound. The introduction of sound not only added an important dimension to filmic expression, it also enacted a structural shift in the medium. Increasingly filmmakers built on earlier editing tendencies established by D.W. Griffith and Sergei Eisenstein, evolving the very formal and technical fabric of the cinema. In an effort to articulate the changing nature of the medium, theorists such as Andre Bazin and Siegried Kracauer explored many of these formal and technical tendencies. This essay examines many of these theorists’ foundational perspectives, and considers what these terms mean in the context of Francis Ford Coppola’s film Tetro. One of seminal theorist Andre Bazin’s arguments was that the film strategies of montage versus mise-en-scene were more than mere formal strategies, but choices that were connected to the viewer’s agency to interpret the images presented. In understanding Bazin’s argument one must understand his perspective on the meaning of art. In these regards, Bazin notes that with the advent of advanced representational painting societies no longer felt the need to preserve aspects of their existence in a way similar to the Egyptian tombs. This insight leads him to consider that art functions primarily as a representation of reality. He even notes that, “the cinema is objectivity in time” (Bazin, p. 169). This means that the cinema itself not an artificial form, but the objective capture of reality in real-time. For Bazin, film is further divided between montage and more static mise-en-scene tendencies. Bazin recognizes that with the development of film, increasing formal language elements have emerged in the form of montage. One filmmaker that Bazin celebrates is Sondheim. Bazin states that Sondheim, “rejects photographic expressionism and the tricks of montage” and that, “In his films reality lays itself bare” (Bazin, p. 45). Essentially Bazin recognizes that while montage constitutes a more formal film language, such an evolution is ill-suited to the true meaning of film. For Bazin, deep-focus then becomes the highest form of filmic explication as it eschews formalist interference for what he believes is the unencumbered expression of reality. While exploring many of the same foundational elements regarding the objective of filmmaking as Bazin, Kracauer discussed realistic versus formative filmic tendencies and theorized their most effective uses. Kracauer traces the roots of the realist and formalist divide in the very earliest silent film productions. He argues that the Lumiere films, with their direct depictions of daily life, represent the realistic tendency in film. While Kracauer doesn’t openly deride the Lumiere films, he attributes their eminence not to artistic legitimacy, but instead to the newness of the medium. Conversely, for Kracauer Melies represents the formative tendency of the film medium. While Bazin and Kracauer agree regarding the division between realist and formalist tendencies, they disagree as to their aesthetic merit. While Bazin idealizes realism, Kracauer embraces formalism as the next step in the evolution of film. Kracauer notes, “Imagine a film which…records interesting aspects of physical reality but does so in a technically imperfect manner…such a film is more specifically a film than one which utilizes brilliantly all the cinematic devices…to produce a statement disregarding camera reality” (Kracauer, p. 145). In these regards, Kracauer agrees with Bazin that film should remain true to camera reality, but indicates that the formal elements of film editing can contribute to this reality when unnoticed. This is contrasted with Bazin who foregrounded deep focus as the highest form of film technique. A notable insight regarding Kracauer is that he is not simply in favor of technical wizardry, but believes film technique must conform to camera reality. Such a notion would seemingly view such modern day films heavily reliant on special effects as secondary to films that implement cinematic language to tell a story. Francis Ford Coppola's Tetro draws on many film forms and moves between both realistic and formal tendencies. One recognizes that along the realist versus formalist spectrum the film is heavily rooted in realism, such that even Bazin would favor its implementation of the cinematic apparatus. One of the most characteristic Bazinian scenes occurs towards the beginning of the film as Tetro (Vincent Gallo) is speaking with Bennie (Alden Ehrenreich). The scene beings with a deep focus shot of Bennie lying on the couch. This shot cuts to Tetro slamming the door open and startling Bennie. While editing is implemented the camera remains stationary between cuts and maintains perspective shots from the angle of both characters. The characters are each featured in expansive shots with the room surrounding them and the entire scene in focus. The camera remains static throughout the scene until a moment when Bennie gets up and walks out of the frame. During this instant the camera’s position is evident it eschews traditional framing. It seems such an instance would go against Kracauer’s conception of camera reality in that it adopts a strict form of static realism. Even with such static realism, it is clear that the scene implements a number of formal elements. While the cuts between Bennie and Tetro are naturalistic, the scene begins with Tetro slamming open the door in a melodramatic-like fashion. One also considers Coppola’s use of black and white throughout the film. While ostensibly such a choice is firmly rooted in realism, upon deeper examination one recognizes that it is a highly formal choice. Not only does the black and white film stock paint the film in an unrealistic tone, but it also casts an aesthetic tendency that remains entirely independent of the filmic reality. In other instances, it is clear that the film more readily embraces formalism. After Tetro and Bennie get in a brief squabble, Miranda has a conversation with Bennie. As she begins to tell him how she met Tetro in an asylum the film cuts to an external shot of a woman writing on a chalkboard. With Miranda’s monologue now being used as a voice-over the film cuts from the chalkboard/ to a medium long shot of a group of individuals sitting in a circle/ to Tetro’s face encroached in a crowd. The ultimate effect is a formal montage that serves to advance the camera reality in a way that transcends traditional Bazinian forms of realism, albeit retaining what he would term ‘plastic’ images in each montage shot. Added to this formalist aesthetic is non-diegetic music that is over-dubbed throughout the scene. This specific montage sequence functions within the realm of specifically cinematic language. In terms of objective filmmaking intentions, Bazin wuld reject such a scene as it eschews true deep focus reality for increasing formalist emphasis. Conversely, Kracauer would embrace such a sequence as realism in that while it implements formalist tendencies they are done so in a way that conforms to the overarching camera reality. In conclusion, this essay has examined film theorists Andre Bazin and Siegfriend Kracauer in terms of their perspectives on realist and formalist tendencies in film. Further consideration has been given to the articulation of these tendencies in Francis Ford Coppola’s Tetro. While one appreciates Bazin’s emphasis on ‘true’ realism, it becomes clear that his notion of the camera as objective reality is highly idealistic and even in documentary form such mediation creates a multi-varied barrier to reality, just as a painting of a photograph would not be the photograph. Ultimately, Bazin’s perspective must be considered in more nebulous aesthetic terms, whereas Kracauer’s is a more accurate articulation of film form and purpose. References Braudy, Leo. Cohen, Marshall. Film Theory and Criticism: Introductory Readings. Oxford University Press. 2004. Read More