To what extent can it be said that your chosen film movement represents an expressionist as opposed to a realist approach to filmmaking? Make detailed reference to examples from the silent film or films you have studied. [20].
At the beginning of the 20th Century, cinema emerged as an exciting new art form, available to people all over the world. In its early stages, many film – makers were experimenting with different methods towards presenting drama and action via. moving images. This creative freedom that many film – makers had gave rise to many different ideologies that shaped the landscape of film and film – making.
The two primary ideologies that were at the forefront of film in the 20th Century were: German Expressionism and Soviet Montage. Both theories can be described as expressionist in nature; however, their executions varied wildly. German Expressionism focused on the expressive use of mise – en – scene to create meaning; whilst, Soviet Montage achieved the same effect through the measured use of editing.
As these aforementioned expressive film ideologies grew in popularity, a French film critic, named Andre Bazin, offered up an alternate view. Bazin suggested that films should be a medium, of which to represent reality. In addition to this, Bazin disagreed with the way in which expressive films manipulated the audience through specific techniques. Instead, Bazin thought that cinema verite should be the primary way in which people watched film.
Cinema verite was an ideology that was diametrically opposed to German Expressionism and Soviet Montage. However, like these ideologies, cinema verite required the audience to be active. Although, in this instance, the audience were expected to interpret the film in a way that was specific to them, rather than be manipulated into feeling a certain way. This was different to the expressive film ideologies, where much of the focus was put on manipulating the audience’s interpretations of the film, so that they felt the same way as the director.
Ultimately, Bazin argued that realist cinema should be the only way in which film – makers produced film going forwards. However, expressive film – makers felt differently. What actually happened was the synthesis of the two forms of film. The most notable example of this in action was the films of Buster Keaton.
One Week (Buster Keaton, 1920) focuses around a young couple and their quest to build a house within a week. Keaton designed this plot in a way that is representative of realist film. The idea of young couples having the money to start a new life together was an accurate reflection of America in the early 20th Century, where many young couples were gaining economic freedom. This realist plot, provided a way – in for viewers at the time to access the film.
To the same effect, Keaton utilises a train for comedic effect towards the end of the film. Whilst the comedy was expressive, the train is symbolic of exploration and Manifest Destiny. Many Americans at the time would have travelled west as the Government were eager to encourage westward expansion. As such, Keaton uses this feature of mise – en – scene to present a realist version of American life. The expressive use of this realist feature makes the joke more funny because viewers could relate to it.
Keaton utilises the expressive use of framing to draw the viewer’s attention towards a wedding bell. Whilst many American’s were getting married and the wedding bell itself acts as a realist symbol of this exciting new adventure, the framing adds a different, manipulative, effect. The framing is ornate and surrounds the wedding bell, suggesting that weddings were still reserved for the rich and wealthy. This expressive symbolism of a realist prop allows Keaton to explore different interpretations regarding of one item for comedic effect.
Keaton instructs his actors to perform in an expressive way. During the sequence in which Keaton’s wife is in the bathroom taking a bath, the fourth wall is broken and the lens is momentarily covered in order to protect her dignity. In this instance, Keaton is acknowledging the voyeuristic role that the camera plays in film. This expressive technique creates a funny joke, where the audience are involved in the film.
The Scarecrow (Buster Keaton, 1920) follows Keaton and his friend as they try to win the affections of a young woman. This film is, perhaps, the best example of Keaton’s synthesis of expressive and realist film elements.
The house that Keaton and his friend reside in is full of household items. This is a realist use of mise – en – scene because American citizens were becoming more affluent, so they had more money to spend on materialistic items. However, Keaton subverts the audience’s expectations of these items because they have versatile uses. For example, the condiments hang on strings, high from the ceiling. This expressive use of mise – en -scene allows Keaton to present his fascination for technology in an implicit way. This increases the audience’s fascination, suggesting that expressive elements in Keaton’s films allow him to manipulate the audience into feeling a particular way.
In the same regard, Keaton utilises continuity editing to present some of his jokes. When he is being chased by a seemingly rabid dog, the audience can follow along with the progression of the joke. It is more funny because Keaton already showed the audience that the dog merely got cream on its face. This realist use of editing heightens the comedy of certain jokes.
In the same sequence, Keaton uses an expressive performance style in order to, himself, form part of the mise – en – scene. As the dog is chasing him around his house, Keaton jumps through the windows. This makes the joke more absurd and hilarious because we see Keaton performing acrobatic stunts to evade a threat. Keaton’s expressive performance adds to the hilarity of this joke.
The High Sign (Buster Keaton, 1921) shows Keaton as he is employed as a bodyguard for the man he is hired to kill.
For the most part, the plot is structured around a gang. This allows Keaton to explore different facets of crime. For example, the gang itself acts as a realist plot device because crime was growing in the west and lawfulness was becoming more prevalent. However, Keaton uses expressive mise – en – scene to reinforce the idea that the gang leader is the antagonist. The dark black face paint that covers the antagonist’s eyes reminds the audience who acts as the villain.
Keaton uses expressive elements of editing during the sequence where he is at the shooting range. There are cuts between him and the dog and the sequence utilises parallel editing. This expressive form of editing is effective in conveying a joke to the audience, that would otherwise lose its humour with ordinary continuity editing.
In Cops (Buster Keaton, 1922), we see Keaton try to evade the Los Angeles Police Department in his most blatant exploration of binary opposition.
At the start of the film, there is a close – up shot of Keaton behind bars. This expressive use of cinematography implies that Keaton is in jail. This has connotations of crime and unlawfulness, which were big elements of America in the early 1920s. However, the camera tracks backwards, revealing that Keaton is, in fact, standing behind a gate. Not only is this a funny joke, it also allows Keaton to imply that his character feels trapped and imprisoned because he can’t be with the woman that he likes. In this regard, Keaton’s expressive use of cinematography allows him to present different ideas to the audience.
Throughout the film, we see Keaton try to escape from the Los Angeles Police Department. This is a realist narrative feature because Keaton and the police represent the binary opposition and the power struggle between citizens and authority. Throughout the film, the number of police officers seen gradually increase, suggesting that the police had more of a presence in America, as time went on. In addition to this, by the end of the film, there are an almost – absurd number of police officers chasing Keaton. This suggests that the animosity felt between American citizens in the early 1920s and authority had reached a climactic point.
It could be argued that Keaton’s unprecedented blending of realist and expressive film features paved the way for modern – day film. Whilst many films previously tried to focus on one feature: realist or expressive, Keaton decided to use both features when making his films. His films were wildly successful and popular, suggesting that the synthesis of both features made for a more enjoyable film than a realist or expressive film on its own.
Olly Staniland's Film Studies Blog 