Realism in Films - The Poor Filmmaking

   Cinematic Realism Called as Versimilitude, of a Film it's  the believability of its characters and events.

Realism became a key style in cinema with the neo-realist movement that came out of Italy during and after WWII, and Critics like Andre Bazin in his What is Cinema? defended one neo-realist work, Vittorio (Bicycle Thieves) de Sica’s Umberto D, by saying “the narrative unit is not the episode, the event, the sudden turn of events, or the character of its protagonists; it is the succession of concrete instants of life, no one of which can be said to be more important, for their ontological equality destroys drama at its very basis.” 

Another Film Theorist Siegfried Kracauer suggests in his writings on Realism and cinema “that films may claim aesthetic validity if they build from their basis properties; like photographs, that is, they must record and reveal physical reality”.
Kracauer’s accounts similarities between photography and cinema, says that cinema is simply the next step in the evolution of photography. So, it follows that like a photograph, “a film is realistic because it correctly reproduces that part of the real world to which it refers”. 

He Also not Hesitate to Differentiate the films by "realistic" and "formative" .While Lumieres’ (produced first ever scientific films)experiments with narrative filmmaking did succeed in providing entertainment to public, it still left a great deal to be desired. What Lumiere Brothers regarded as “scientific curiosity”, George Melies would come to regard as an unrealized continuum of possibilities. Kracauer claims it is the Lumiere Brothers who established the realistic tendency in cinema, Melies be credited as the establisher of the formative tendency in cinema.

“Everything depends on the “right” balance between the realistic tendency and the formative tendency; and the two tendencies are well balanced if the latter does not overwhelm the former but eventually follows its lead”-Kracauer on the Conflicts of his Cinema Realism,thus It accounts that , the possibility of hybrid genres or the influence of the medium’s non-photographic components Can be Included.
 Bazin also believes that the basis of the filmic medium is photographic and that films are aesthetically valid if they cultivate cinematic realism.Besides Bazin Expressed himself in the German Expressionism Which Questions About Perfect Function Of The Realism.

– Their collective theory of cinematic realism is not entirely unfounded, if however somewhat misguided.

Yet , besides there are some Filmmakers like Maurice Pialat, Ken Loach, and Dogme filmmakers , they retain realist elements and Have maintained the narrative needs of Cinema, It remains one of the most pressing questions in cinema.

Realism Kinds : 

 Poetic Realism :

     These kind of filmmaking were focused on stories about the masses and kinds of hardships common people faced.These Films originated in the France in the 30s.Particularly These films have "long takes" that made people go into realistic things instead of cuts made for better A Day in the Country(1936)

Italian Neo Realism :

    Whenever a Filmmaker shoots on the streets and employs nonprofessional actors and the story is about some  urban working/middle-class people,It's Italian Neo-Realism.In De Sica's casting of individuals who personify the social types and values he sought to show, there are traces of the technique of 'typage" employed by the Russian directors Eisenstein and Sciuscia (Shoeshlne, 1946) and BicycleThieves (1948)
Hollywood And Neo-Realsim :

     In the late-1940s, neo-realism’s influence spread to Hollywood Too,like having real locations, long takes and deep focus brought "Verisimilitude" to American thrillers and the Social Conscience Genre.Eg.The Last Weekend (1945),The Naked City (1948).

Dogme 95:

    Lars von Trier concocted the idea of Dogme with his younger colleague Thomas Vinterbergin in 1995. It turned out to be hugely influential and surprisingly far-reaching, catching the imagination of young filmmakers all over the world.Dogme 95 became the cornerstone for the success of von Trier's company Zentropa and helped launch several Danish filmmakers on the International stage, including Vinterberg himself, Susanne Bier, SorenKragh-Jacobsen and Kristian Levring.Some Of The Dogme Rules Here Below :

               1. Shooting must be done on location. Prop and sets must not be brought in.
               2. The sound must never be produced apart from the Images, or vice versa.
               3. The camera must be hand-held.
               4. The film must be in color. Special lighting is not acceptable.
               5. Optical work and filters are forbidden.
               6. The film must not contain superficial action, (Murders, weapons, etc must not occur.)
               7. Temporal and geographical alienation are forbidden. (Film Must takes place in the here                    and now.)
               8. Genre movies are not acceptable.
               9. The film format must be Academy 35mm.
              10. The director must not be credited. 

What we are discussing in this post and have concluded is there is no grand theory as ‘Cinematic Realism’ ever be considered to be definitive.Rather, any theory should be used as an analytical tool for a task best suited.In this way, any self-contained theoretical framework can be contribute to significant enlightenment in a given area of study.Which gives answer to  what is a Poor Film and a Good Film. Thus, Kracauer’s initial thesis is not incorrect, but it considered to have inherent limitations.  

Realism in Films - The Poor Filmmaking Realism in Films - The Poor Filmmaking Reviewed by Cinema Thoughts on May 22, 2018 Rating: 5


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