How Have Ideas of Realism Been Conceptualized and Put into Practice by Different Filmmakers - Assignment Example

The environment of Realism Realism is the art of reflecting imaginary events into the real world situations.For example, an artist will employ this tool whenever he seeks to implement how an event occurred and affected humans. Artists realize the piece of art, as it helps in developing a scene of events such that, on viewing, one can identify the occurrences of the past in a manner perceived as rather real to animation. The audience feels the impact of different past events all alike, and can establish on the plights that the human race underwent in the past. The following is a precise and detailed script of the relationship of film aesthetics and socio-cultural, political and the economic environment. Further, the script entails the process of conceptualizing and practicing realism in filmmaking (Anheier & Isar 2008:57). The art tends to manipulate the artistic framework in execution of procedures such that the viewer or reader can establish the message conveyed by the work, whether stipulating economic, political, or social situations. The art representations should follow a sequential motion of play to draw attention from the audience, rendering them the ability to depict an outcome of the whole situation. The film “Taste of Honey” of the 1962 establishes social and economic relations at the same stance. It narrates of a young white teenage girl who engages in sexual relations with a black sailor, eventually resulting in pregnancy. Thereafter, the girl loves white man, ignorant to realize he is homosexual. All these aspects depicted in the film establish a controversy of societal norms, and the reality. For example, falling in love with a black sailor was an antisocial practice since the black race represented the inferior group of the human race. On the contrary, the sailor would cater for her monetary needs effectively, until the girl went on to fall for a white homosexual with no knowledge of the status (Eleftheriotis & Needham, 2006:58). 1. The relationships between film aesthetics and the social / political / economic contexts in which they are locate Film aesthetics in the movie, “Loneliness of a Long Distance Runner” reveals realism in the sense that a person seeks to satisfy many needs at the same time. In context, a rude teenage boy joins a rehabilitation foundation and through passion, he succeeds to rule in the field of long-distance running and draws a spectacle attention from the people and authorities. The problem arises when the athlete seeks to coax the past with the present in pursuit of societal recognition as a reform rather than the obvious bully. The athlete realizes honorary of the state to his performances, and monetary incentives that change his lifestyle. Despite this entire prowess, the athlete finds it hard to find the right woman for marriage, since everyone knows of his antisocial practices during the teenage stage. Therefore, the film aesthetics in this context tend to stipulate the value of relations, compared to that of economic and political prowess (Chapman & Allison, 2009:67). Aesthetics used in the art of “The Sporting Life” establishes the artistic use of realism in posing an unexpected fate in the life of a famous rugby player. Frank Machin, initially a coal miner, quits the job in search of better pastures, thus landing in the local rugby team. He rises to a star in the new team but fails in to cooperate with teammates due to his pride. Machin’s zeal to amass wealth turns a success, and he goes ahead to entice his property owner into a lustful relationship. Eventually, Frank decides to marry the woman, but the marriage halts on the wedding day after a fellow teammate attacks the would-be wife. Hence, realism ascertains to the viewers and readers that, despite economic stability, deprivation of social welfare could be more traumatizing. The chauvinist rugby player is overwhelmed by pride thus; his relationship fails to succeed (Lazaro & Willis, 2004:79). “The Woman in a Dressing Gown” movie relates to antisocial practices, whereby the man would make decisions without his wife’s consent. On viewing the film, a person would depict realism at the extent that the husband has an affair with a workmate, known to the wife and expects her to remain calm about the situation. The wife shows ignorance to the affair, so that the husband does not deprive her of financial assistance. Their rude son restrains the relationship further, through malpractices and unethical behaviors tarnishing his name. On the other hand, the busy wife struggles for recognition on realizing that her husband’s affair has no signs of ending. Similarly, her husband’s relationship with the secretary seems to take a new dimension and to better grounds at the time. Therefore, realism sets an imaginary scene whereby, a romantic situation inclines to antisocial behaviors and the viewers are emphatic to the wife. Consequently, the movie relates to economic and political variables in the modern world whereby, the economically prosperous husband feels more superior to accept any compromise from his wife (Gazetas, 2008:80). In the democratic nations, films stars have the mandate to make films depicting government related activities. Films tailored with the use of realism tend to present the exact meaning that the actor intended to relay. Thus, the viewer is in a position to tell the best and the worst government practices, and forecast the future of such a state enduring in the described practices. Citizens have the ability to describe their leaders’ characters, and the likeliness of transforming their countries to the best or worst extreme. Realism will relay the obvious message as intended; however, there is a necessity to design clear arts that will convey messages properly as planned. In the movie, “Taste of Honey”, the artist conveys a clear message of obsession over something. The artist relays the message that, danger belies any involvement into activities, which one is naive. During the twentieth century, film stars did not have to relate a film to the political occurrences, but movie characters and would eventually bring out the desired meaning. For example, Frank Machin in the movie “The Sporting Life” is a rude character who but may imply a political tyrant (Hagener, 2007:89). Through pictures and artistic writings, the readers and viewers may easily tell the kind of a societal status meant in a particular representation. For example, the book,” A Room at the Top”, derives the social inclination of people through classes in social status. The novel narrates that, a woman lived in the high tower and was able to know her visitors from a far; therefore, she would prepare to welcome them, by the time they reached the entry to the tower. The writer narrates of the beautiful graphics hanging on the walls and the woman’s beauty, which her visitors would always acknowledge. Further, the narrator explains of the loneliness in the woman’s life, and that, the graphics remind her of the past and, she remains in wary on whether she will fall in love or not. Therefore, the depicted meaning is to realize that, happiness lacks in the most expected places of the society (Ostrowska, 2008:90). s Economically, art depicts many aspects and the form at which the writer expresses emotions, colors and the wellbeing of an item. For instance, Frank Machin lives a fancy life due to fending income from the rugby club whereby, he leads as a star player though with worrying cases of indiscipline. The writer outlines of the capabilities of Frank but on the contrary establishes that, despite the wealth, he pleads for love engagement with his property owner. The actor represents the artistic use of realism in flashbacks whereby, Frank reveals his life in the past. Frank is unable to forget about his worrying past when he was a bully to the current position as a rugby player. Prior to the wedding, Frank loses his wife to death after an assault from his teammate. The loss seems irreparable and traumatizes Frank uncontrollably (Jain & Rai, 2002:68). 2. How have ideas of realism been conceptualized and put into practice by different filmmakers? Conceptualization in filmmaking is the course or process at which a person begins a strategic layout to come up with the desired idea and film script. The process most importantly entails artistic thinking, because, lest there is no proper idea formulation then, the artist will not develop a meaningful script (Middents, 2009:25). Therefore, a filmmaker is one with the ability to conceive a particular situation such that he finds an opportunity in a rather less promising situation. Creativity serves as a source of motivation to the writers, since on describing a situation; he will establish the next course of action to implement the desired plan, and eventually result to a script. The best idea that an artist comes up with should enable the effect of realism such that the message conveyed at the ultimate script reaches the viewers and readers promptly (Oros, 2008:67). Eventually, a filmmaker should realize the effect of using graphics in his work. The reason behind this is the combination of products and designs to establish a clearer scenario. The viewer has the ability depict a meaningful thinking out graphics, and will determine the past or future event that is relevant to the script. A film based on battles should bear the arts that show events in the battlefields, and the characters should show emotions to the situation depicted in the graphics (Middents, 2009:28). This method enables the filmmaker to absorb the audience into the situation, such that their emotions turn towards the events naturally. The other aspect of deriving the best out of the audience is through artistic scripts that provoke the thoughts of audiences. The use of scripts enables the audience to establish the particular course that an event is likely to take, and similarly show attention to the cast to establish his certainty to the outcome (Pihlstrom, 2005:45). 3. Merits and demerits of the concept of ‘national cinema’ as a means of grouping and understanding films However, a term drawing many critics, national cinema mainly illustrates a film produced in a specific nation state. Mainly, national cinema creates a feeling of national integration amongst the people. The conflict between the term and domestic film industry draws questions like the location of producing the film, the producers, the owners, and such like questions. Due to this, it has a number of limitations. The identity of a specific national cinema and its differentiation from others is a major limitation. The tension between the intellectual discourses insisting on the specification of a proper national cinema becomes a limitation. National films acquaint legacy to the country of origin since, the film makers may choose to employ the native culture, dress code, language, and sceneries in the local country. The film will further promote the country through the creation of job opportunities. A country that encourages the practice of national cinema through financial incentives will eventually win the thoughts of the audience who observe that the practice promotes social integration. The aspect falls prey to a series of limitations towards the target audience. Strictness in the use of national cinema as a tool of filming, may strain filming activities to the extent that a film fails to sell to different markets. For example, use of a particular language holds buyers back due to jargon (Middents, 2009:25). The film culture develops a nation’s image in the global view, and describes the desire and goodwill of a country to promote the economy. Through film authentic and the national cinema, artists have the ability to earn from their skills. This emanates from the fact that the governments ensure that the film copyright is reserved to the artists (Jain & Rai, 2002:70). The essence of the surety by the national cinema facilitates the sales of genuine film copies with strict measures of penalizing cartels on counterfeited ones. Bibliography Anheier, H. K., & Isar, Y. R. 2008. The cultural economy: cultures and globalizations. London: SAGE. Chapman, J., & Allison, K. 2009. Issues in contemporary documentary. Cambridge: Polity. Eleftheriotis, D., & Needham, G. 2006. Asian cinemas: a reader and guide. Honolulu: University of Hawai'i Press. Ely, C., & Scott, I. 2007. Essential study skills. Edinburgh ; Toronto: Mosby/Elsevier. Gazetas, A. 2008. An introduction to world cinema. Jefferson, N.C: McFarland. Hagener, M. 2007. Moving forward, looking back: the European avant-garde and the invention of film culture, 1919-1939: Amsterdam Univ. Press. Jain, J., & Rai, S. 2002. Films and feminism: essays in Indian cinema. Jaipur: Rawat. Lazaro Reboll, A., & Willis, A. 2004. Spanish popular cinema. Manchester: Manchester Univ. Press. Middents, J. 2009. Writing national cinema: film journals and film culture in Peru. Hanover, N.H, Dartmouth College Press. Oros, A. 2008. Normalizing Japan: politics, identity, and the evolution of security practice. Singapore: NUS Press. Ostrowska, D. 2008. Reading the French new wave: critics, writers and art cinema in France. London: Wallflower Press. Pihlstrom, S. 2005. Pragmatic moral realism: a transcendental defense. Amsterdam: Rodopi.s Read More