Realism(s)

Realism

Historical Context
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Realism is the artistic attempt to recreate life as it is in the context of an artistic medium. The artist’s function is to report and describe what he sees as accurately and honestly as possible.

Realism is defined as an absence of "style" and more linked towards "life."

Realism began as an artistic movement in the 18th Century in Europe and America. It was a revolt against the conventions of the classic view of art which suggested that life was more rational and orderly that it really is. It was also a revolt against the romantic traditions in art which suggested that life was more emotionally satisfying that it really is. 

Realism tries to portray life as objectively as possible. The realistic artist tries to keep his own preconceived notions out of their art, but rather to just report what they sees as accurately as possible, “warts and all.”   

Realism developed historically in tandem with the rise of modern science with its emphasis on observation, accurate recording and theorizing about natural phenomena. It also developed at the same time that writers started to have a social conscience, seeing the evils of society and calling for reform.

When the 20th century arrived with the invention of the moving picture camera, one of the first motion picture ever made was titled “Workers Leaving the Lumiere Factory” by the French film pioneers, the Lumiere brothers. This film was one of the first realistic films ever made because its subject matter was exactly what the title stated. This was in direct juxtaposition to another French film of the period “Trip to the Moon” which was an overt fantasy and one of the first science fiction films ever made.

Seamless Realism

Seamless realism in cinema seeks to fully immerse the audience in the story by creating an environment that feels undeniably real and immediate. This approach relies on techniques that hide the artifice of filmmaking, such as using natural lighting, location shooting, and minimalistic editing, to ensure that the viewer's immersion is never broken. The goal is to replicate the texture of real life, allowing audiences to engage with the narrative as if they are witnessing real events unfold before them.

Filmmakers who employ seamless realism often work with non-professional actors to bring an additional layer of authenticity to their characters. These actors can bring genuine reactions and interactions that professional actors might over-refine, contributing to the film's naturalistic feel. The dialogue in these films is often improvised or designed to mimic the way people truly speak, with all its hesitations, interruptions, and colloquialisms, further enhancing the illusion of reality.

The narrative structure in films that utilize seamless realism tends to avoid conventional plot devices and dramatic arcs. Instead, these films might focus on mundane aspects of daily life, exploring the depth and complexity of the human experience through seemingly simple stories. This can lead to a more contemplative viewing experience, encouraging audiences to find meaning and emotion in the subtleties of everyday existence.

Seamless realism also extends to the use of the camera. The cinematography is designed to be unobtrusive, often employing handheld shots or stationary cameras that serve as an impartial observer to the events. This technique helps to maintain the illusion that what is being filmed could indeed happen, reinforcing the film's commitment to presenting a slice of reality.

Ultimately, seamless realism in film serves to bridge the gap between the viewer and the narrative, creating a deeply immersive experience. By prioritizing authenticity and minimizing cinematic artifice, these films challenge audiences to engage with the story on a more personal and emotional level, offering a mirror to the complexities of real life.

Aesthetic or Artistic Realism

Aesthetic or artistic realism in cinema is a nuanced approach that goes beyond mere replication of the observable world, aiming instead to capture the essence and emotional truth of the human experience. This form of realism uses visual and narrative techniques to delve into the complexities of life, exploring themes such as identity, morality, and the intricacies of human relationships. Through carefully composed cinematography, meticulous production design, and thoughtful use of color and light, filmmakers can create a deeply immersive world that, while may not always align with the literal reality, resonates with viewers on a profound level.

Directors employing aesthetic realism often prioritize character development and narrative depth, crafting stories that reveal the inner lives and struggles of their characters. This approach can lead to films that are both visually stunning and emotionally rich, offering audiences a window into the characters' souls. The dialogue and performances in such films are crafted to feel genuine, capturing the nuances of real human interaction, thus enhancing the film's authenticity.

Moreover, aesthetic realism is characterized by its ability to evoke a specific atmosphere or mood that aligns with the film's themes. Whether through the gritty depiction of urban life or the serene portrayal of natural landscapes, every element within the frame is chosen to contribute to the overall aesthetic and thematic goals of the film. This deliberate design helps to immerse the audience fully in the story being told, making the film's world feel palpable and its characters' experiences universally relatable.

In contemporary cinema, aesthetic realism serves as a counterpoint to the spectacle-driven blockbuster, offering stories that demand reflection and engagement from the viewer. Films that embody this approach often leave a lasting impact, prompting audiences to ponder the deeper meanings and implications long after the credits roll. They challenge viewers to see the world through a different lens, one that values emotional truth and artistic expression over escapism and entertainment alone.

Ultimately, aesthetic or artistic realism celebrates the power of cinema to explore the depths of human experience with honesty and artistic integrity. By blending realistic content with artistic expression, these films offer a rich, layered perspective on life, inviting audiences to engage with the film on a deeper, more introspective level.

Realism vs Non-Realism

​Since its inception, the world of cinema has descended from these two film approaches: REALISM / NON-REALISM

Realism and Non-Realism in cinema represent two distinct approaches to storytelling and visual representation. Realism focuses on depicting life and situations as accurately and truthfully as possible, often highlighting everyday experiences and social issues. It employs naturalistic performances, authentic settings, and plausible narratives. Non-Realism, on the other hand, embraces fantasy, surrealism, and abstract concepts, allowing for creative freedom that transcends the limitations of the physical world. This approach often involves stylized visuals, imaginative storylines, and symbolic elements to explore themes and emotions beyond the realm of realism.

Key Features of Realism

•  ​Plausibility – plot, authenticity 

•  Realistic Characters (often non professional, or ‘unknowns’) 

•  Realistic portrayal through mise-en-scene 

•  Location – not studio 

•  Natural Lighting (or effect of) 

•  Real life camera – Cinema Verite 

•  Not music driven – underlying score and/or sound effects

Italian Neo-realism

Italian Neo-realism emerged in the mid-1940s as a reaction to the devastation of World War II, aiming to portray the reality of everyday life, especially of the working class and the poor. Directors like Roberto Rossellini with "Rome, Open City" (1945) and Vittorio De Sica with "Bicycle Thieves" (1948) became pioneers, using on-location shooting and non-professional actors to capture the struggles and aspirations of ordinary people in a war-torn society. These films focused on simple, yet profound narratives, steering away from the glamorous settings of earlier cinema to highlight the raw, emotional, and often harsh realities of life.

Neo-realism's influence extended beyond Italy, inspiring filmmakers around the world to adopt its techniques and ethos, leading to movements like the French New Wave and Cinema Novo in Brazil. These movements shared Neo-realism's commitment to social realism and the exploration of political and social issues through the lens of ordinary lives.

In recent years, Neo-realism has seen a revival in various forms, adapting to new contexts and technologies but retaining its focus on realism and social issues. Films like "The Florida Project" (2017) by Sean Baker and "Roma" (2018) by Alfonso Cuarón have been cited as modern examples of Neo-realist cinema. These films, while technologically advanced, maintain the essence of Neo-realism by focusing on marginal lives and using cinema as a tool to explore and highlight societal issues.

This modern iteration of Neo-realism, often referred to as contemporary Neo-realism, demonstrates the enduring relevance of the movement's principles. By emphasizing the importance of authenticity, emotional depth, and social commentary, contemporary Neo-realist films continue to offer a counterpoint to mainstream cinema's escapism, reminding audiences of the power of film to reflect and critique the world around us.

Thus, Neo-realism, both as a historical movement and in its contemporary forms, underscores cinema's role as a mirror to society. It highlights the medium's ability to influence, document, and provoke thought about the human condition, making it a vital tool for understanding and empathy. Through its evolution, Neo-realism reaffirms the importance of storytelling that connects with the realities of life, offering insights into both the specificities of local cultures and the universality of human experiences.

Here are some examples of film movements or styles that have been influenced by or share characteristics with Neo-realism:

French New Wave (La Nouvelle Vague): Emerged in the late 1950s and early 1960s, this movement was characterised by its innovative filmmaking techniques, existential themes, and rejection of traditional Hollywood conventions. Directors like Jean-Luc Godard, François Truffaut, and Alain Resnais were key figures.

British Social Realism/Kitchen Sink Realism: This movement emerged in Britain in the late 1950s and early 1960s, depicting the lives of working-class Britons in a gritty, realistic manner. Films like "Saturday Night and Sunday Morning" (1960) and "This Sporting Life" (1963) are prime examples.

Indian Parallel Cinema: Developed in India in the 1950s and 1960s as an alternative to the mainstream Bollywood industry, Indian Parallel Cinema focused on social issues, realism, and artistic experimentation. Directors like Satyajit Ray ("Pather Panchali") and Ritwik Ghatak were prominent figures.

Iranian New Wave: Emerging in Iran in the late 20th century, this movement focused on socially conscious themes and utilised minimalist storytelling techniques. Abbas Kiarostami ("Taste of Cherry") and Mohsen Makhmalbaf ("A Moment of Innocence") are notable directors associated with this movement.

Dogme 95: Founded in Denmark in 1995 by directors Lars von Trier and Thomas Vinterberg, Dogme 95 emphasised a stripped-down, minimalist approach to filmmaking, with a focus on realism and authenticity. The movement's manifesto outlined strict rules for filmmaking, including the use of handheld cameras and natural lighting.

American Independent Cinema: While not a single movement, American independent cinema often shares characteristics with Neo-realism, prioritising artistic vision, authenticity, and social commentary over commercial considerations. Directors like John Cassavetes ("Faces") and Jim Jarmusch ("Stranger Than Paradise") exemplify this approach.

These movements and styles vary in their specific characteristics and cultural contexts but share a common commitment to realism, social commentary, and artistic innovation, echoing the principles of Neo-realism in their own unique ways.

Experimental and Avant-garde

Avant-garde  means "advance guard" or "vanguard". The adjective form is used in English, to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics.

The term was originally used to describe the foremost part of an army advancing into battle (also called the vanguard) and now applied to any group, particularly of artists, that considers itself innovative and ahead of the majority.

The vanguard, a small troop of highly skilled soldiers, explores the terrain ahead of a large advancing army and plots a course for the army to follow. This concept is applied to the work done by small collectives of intellectuals and artists as they open pathways through new cultural or political terrain for society to follow.

The term describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking. 

Avant-garde is also a term used for experimental, however it is also used to define the film movement in the 1920’s in France, Germany and Russia – where artists were focused with pushing the boundaries of was is accepted as the norm, or the status quo. 

Today the term "experimental cinema" prevails, because it’s possible to make experimental films without the presence of any avant-garde movement in the cultural field.

Avant-garde and experimental films diverge significantly from mainstream cinema by challenging conventional narrative structures, visual techniques, and thematic explorations. These films often aim to provoke thought, evoke emotions, and push the boundaries of the medium, creating a space for artistic experimentation and innovation. Pioneers like Man Ray, associated with the Dada and Surrealist movements, utilized cinema to explore the unconscious mind, dreams, and the juxtaposition of unrelated images to elicit emotional responses from the audience. His work, such as "Le Retour à la Raison" (1923), showcases early examples of experimental techniques, including rayographs and creative use of light and shadow.

Stan Brakhage, another seminal figure in experimental cinema, expanded the possibilities of visual narrative through his exploration of perception and the nature of vision itself. His films, like "Mothlight" (1963) and "Dog Star Man" (1961-64), often bypass traditional narrative frameworks, relying instead on rapid edits, hand-painted frames, and abstract imagery to convey complex themes and sensations. Brakhage's work encourages viewers to see film not just as a medium for storytelling but as an experience that engages with the very act of seeing.

The impact of avant-garde and experimental film extends far beyond its niche in the cinematic landscape, influencing mainstream films and directors who seek to innovate within the constraints of narrative cinema. Elements of experimental filmmaking, such as non-linear storytelling, the use of unconventional editing techniques, and the exploration of subjective experiences, have been incorporated into a wide range of films. This cross-pollination enriches narrative storytelling, offering audiences new ways to engage with cinema.

Today, experimental cinema continues to thrive, supported by film festivals, art museums, and academic institutions that recognize its value in pushing the artistic and conceptual boundaries of film. New technologies, including digital filmmaking and virtual reality, provide avant-garde filmmakers with additional tools to explore the medium's potential, ensuring that experimental cinema remains a vibrant and evolving field.

The legacy of pioneers like Man Ray and Stan Brakhage is evident in the ongoing dialogue between experimental and mainstream cinema. By challenging viewers to reconsider the possibilities of film, avant-garde and experimental works play a crucial role in the continual redefinition of cinema as an art form, inspiring future generations of filmmakers to explore, innovate, and imagine new horizons in storytelling.

Surrealism

Surrealism in film transcends conventional narrative and visual techniques to explore the realms of the unconscious mind, employing bizarre and dream-like imagery to challenge our perceptions of reality. Originating as an artistic movement in the early 20th century, surrealism seeks to liberate thought, language, and human experience from the oppressive boundaries of rationalism. Salvador Dalí, one of surrealism's most iconic figures, ventured into cinema with works like "Un Chien Andalou," co-created with Luis Buñuel, showcasing surrealism's potential to disrupt and mesmerize through shocking and provocative visual narratives.

Dalí's contributions laid foundational principles for surrealism in film, emphasizing the power of images and sequences that bypass rational analysis, tapping directly into the viewer's subconscious. This approach to filmmaking challenges audiences to interpret films on an emotional or instinctual level, rather than searching for logical coherence or traditional plot structures. The persistence of surreal imagery and themes in contemporary cinema can be traced back to Dalí's innovative visual experiments, which continue to inspire filmmakers to explore the boundaries of visual storytelling.

Contemporary directors like David Lynch and Terry Gilliam have inherited and expanded upon the surrealistic legacy, crafting films that incorporate dream logic, non-linear narratives, and striking, often bizarre visuals. Lynch, with films like "Mulholland Drive," delves into the subconscious mind, presenting narratives that are as confounding as they are captivating, leaving interpretations open to the audience. Similarly, Gilliam's "Brazil" combines fantastical elements with a critique of modern society, wrapped in a visually surreal package that defies conventional categorization.

For students of cinema, exploring surreal films offers a unique lens through which to understand the power of film as an art form that can convey complex human emotions and ideas beyond the capabilities of traditional narrative cinema. Watching films like "Eraserhead" (Lynch) or "The Holy Mountain" (Alejandro Jodorowsky) can provide insights into how surrealism seeks to engage with the viewer's subconscious, challenging them to find personal meaning in the imagery and narrative.

Surrealism in film, therefore, is not just a style or a genre; it's an approach to cinema that invites viewers to question their perceptions and engage with films in a deeply personal way. By studying surrealism and the works of its pioneers and contemporary practitioners, students can gain a broader understanding of film's potential to explore the depths of human psychology and emotion, transcending the limits of conventional storytelling to touch on the ineffable aspects of the human experience.

“Surrealism was a means of reuniting conscious and unconscious realms of experience so completely, that the world of dream and fantasy would be joined to the everyday rational world in an absolute reality, a surreality.“  André Breton

​Drawing heavily on theories adapted from Sigmund Freud, Breton saw the unconscious as the wellspring of the imagination. He defined genius in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets and painters alike.

Surrealism coincided with the rise of film as a mass entertainment medium, and it was the first art movement to appreciate film as a means of artistic expression.  

Two prominent members of the Surrealist community collaborated on films near the end of the 1920s: Luis Buñuel and Salvador Dalí with Un chien andalou and L'Âge d'Or. Un Chien Andalou is a sixteen minute silent surrealist short film produced in France. Its title means "An Andalusian Dog".  It is one of the best-known surrealist films of the avant-garde movement of the 1920s. The film has no plot in the conventional sense of the word.  The chronology of the film is disjointed, jumping from the initial "once upon a time" to "eight years later" without the events or characters changing very much.   It uses dream logic in narrative flow based on Freudian free association, presenting a series of tenuously related scenes.  

Surrealism in film deliberately breaks the conventions that construct realism.  As in a dream, the logic of the narrative is abandoned. Cause and effect relationships suddenly take a random new direction, leaving the viewer baffled, disorientated wondering  what is real and what is happening in the imagination of the viewer.