Realism In The Lumiere Brothers

Realism was a direct result of the social and economic changes of the 19th century in Europe. It originated in France in the after the Revolutions of 1848, which were a series of political outbreaks throughout Europe. It was around 1906, when Jonas Lie discovered the beauty of impressionism in Claude Monet’s paintings when he went on a trip to Paris while visiting Norway to reconnect with the Norwegian side of his family. He was fascinated by Monet’s use of color and light and incorporated that style in his later works. Lie’s artistic talent in mixing the two art styles is evident, as seen in his painting Dusk on Lower Broadway. (See fig 1.) The brushstrokes look like they were made quickly but with precision, creating a piece of art that looks realistic from far

A filmmaker who was concerned with creating a realistic world in his/her films would probably shoot in the following setting

There are some instances where the movie is an accurate portrayal and there are some instances where it is not.

Realism is broadly defined as verisimilitude, meaning “the faithful representation of reality” (Donna M. Campbell, 2011). Realism is the doctrine that universals exist outside the mind

While acknowledging that selectivity and dramatisation compromises the actuality of the film, Antonioni points out that the truthfulness of a documentary is based on the congruence of film representation to real life, rather than on the exactness of which film can reproduce reality. Hence, the essay argues that it is the extent of this congruence that affects a film’s truthfulness, more so than the ability to exactly replicate of reality. This focus on representation is echoed by Nichols (2001), who states that “documentary is not a reproduction of reality, it is a representation of the world we already occupy”. With regards to this, the reconstructed scenes in Black Prison-White Playground would affect the film’s representation of reality based on how similar these scenes are to the events that have

One mode of cinematic screen reality is self-reflexivity. While the other three modes of screen reality seek to sway the audience into accepting the authenticity of the world and the story that are on screen, the self-reflexive style deliberately attempts to tear down

In the essay, he listed two categories on how film is involving and there are realistic and formative tendencies. Kracauer describes realistic tendency able to go beyond photography in two aspects. First, “they picture moments itself, not only or another of its phase”, second, “films may seize upon physical reality with all its manifold moments by means of an intermediary procedure which would seem to be less indispensable in photography – staging” (Kracauer, 294,

The realism era came about during the time of the Romantics, the time where imagination and ideology painted the artists canvas. To be a realist meant that an artist would paint what he actually saw and not an idea of something. For instance, if an artist were to paint a depiction of war, then all the gruesome details would probably be considered in the piece of art. The artist that essentially paved the way out of Romanticism and into the era of Realism was Gustave Courbet considered by some to be the first realist.

Realists allow the audience to make observations that they should make and opinions instead of being guided by a filmmaker’s desired reactions. However, a director should put his personal vision and beliefs into his or her film but let the people decide what they think. As for me and my film “Freelance,” I wanted to leave questions about the people that you see throughout the film. Was there a back story? Do you feel like the character had some personality? And I left an open ending to my film. I used everything that a realist would have for the cinematography. I left out as much as I could for editing. I look back at the 1920s and 1930s films and I look at Vsevolod Pudovkin’s “The End of St. Petersburg” and I think to myself “Wow, how far we have come to make better

Photorealism was a primarily American art movement that emerged in the late 1960’s and flourished in the 1970’s. Photo-realism grew out of the Pop and Minimalism movements that preceded it.Photo-realists typically projected a photographed image onto a canvas and then used an airbrush to reproduce the effect of a photo printed on glossy paper.Photorealistic artists use photographs to creating paintings that look extremely realistic. Pop Art and Photorealism were reactions to the abundant use of photography in the media which, they felt, was diminishing the importance of imagery in art.

In this chapter we learned about realism and abstraction. The swift in art happened as societies changed and the way they expressed also changed. In early art realism was depicted by and represented by drawings and sculptures that represented something that could be seen. For example, we learned earlier about art that was discovered in caves that depicted different animals. This art was said to represent different things but, yet the drawings and paintings were in the shapes of animals or objects that existed in real like. Realism was also important in Roman art. Discobolos for example are a prime example of realism in art. This works of art represent human like figures with proper human proportions. They represent actions and events. Abstraction

Neorealism, as the name suggests, is a new realism. Louis Giannetti gives a definition in the book Understanding Movies that “Strongly realistic in its techniques, neorealism emphasized documentary aspects of film art, stressing loose episodic plots, unextraordinary event and characters, natural lighting, actual location settings, nonprofessional actors, a preoccupation with poverty and social problems, and an emphasis on humanistic and democratic ideas.” (Giannetti, 2004, 538). Bicycle Thieves and Pather Panchali are two movies that represent this style.

Realism was a huge movement in late 1800s to early 1900s. All art forms were influenced by it. Writers, artists, actors and more started taking a more simple direction and tried to depict life as it actually was. In visual art it was common to see ordinary people doing every day

In a story, things are often not quite what they seem to be. Akira Kurosawa's Rashomon and Michaelangelo Antonioni's Blow-Up are good examples of stories that are not what they first appear to be. Through the medium of film, these stories unfold in different and exiting ways that give us interesting arguments on the nature of truth and reality.

They are filmed almost entirely on location, for the most part in poor neighbourhoods or the countryside. Its subject matter usually consists entirely of or involves life among the poor and the working classes. Realism is emphasized and performances are mainly constructed from scenes of people performing fairly mundane day to day activities and tasks, whilst remaining completely devoid of the self-consciousness that amateur acting usually incorporates. Neo-realist films also generally feature children in major roles, though these roles are often more observational than participatory parts.