What is an Example of Formalist Film?
Formalist film theory, in its most distilled form, separates the filmic medium into a set of recognizable visual and auditory structures that prioritize form over content. In the world of cinema, the term “formalist” is often used to define films where the technical aspects—such as mise-en-scène, editing, and cinematography—are considered the primary means of expression, rather than narrative or character development. From an academic standpoint, formalism focuses on the “how” rather than the “what,” examining how formal elements of film contribute to the viewer’s experience. In this essay, we will explore formalist cinema, utilizing critical theories, historical context, and gendered perspectives to analyze its significance.
Historical Background and Theoretical Foundations of Formalism
Formalist film theory emerged in the early 20th century, as filmmakers and critics began to explore the unique aesthetic and narrative possibilities offered by the medium of film. Unlike naturalist or realist films, which emphasize the “illusion of reality,” formalist films manipulate time, space, and form to create a distinct emotional or intellectual experience for the viewer. One of the pioneering figures in this theoretical movement was Russian filmmaker Sergei Eisenstein, whose montage theory emphasized the manipulation of editing and visual composition to evoke specific intellectual and emotional responses.
Formalist film theory has been deeply intertwined with structuralism, which emphasizes the importance of the system over the individual elements. Formalists argue that film, as a medium, has its own language and grammar, one that transcends the specific narrative or thematic content. This emphasis on formal elements led to a rethinking of cinema as an art form. Filmmakers such as Jean-Luc Godard, Andrei Tarkovsky, and David Lynch exemplified the formalist approach by focusing on how the construction of a film could influence how an audience perceives time, space, and meaning.
The Role of Formalist Elements in Cinema
At the core of formalist cinema lies an insistence on the film’s structure as a primary vehicle for meaning. Whether through innovative cinematography, radical editing techniques, or the use of sound, formalist filmmakers craft experiences that can shift the viewer’s focus from the content to the form itself. An example of formalist film is Andrei Tarkovsky’s Stalker (1979), where the director employs long takes, slow pacing, and minimal dialogue to create an almost metaphysical atmosphere. Tarkovsky’s film is concerned more with the inner world of his characters, using visual elements to reflect on the nature of human existence and the limitations of perception.
Tarkovsky’s formalism, like many others, relies on the manipulation of time and space to create a heightened sense of meaning. In Stalker, the mise-en-scène—a dilapidated, almost dreamlike world—is a key component in shaping the viewer’s engagement with the narrative. The slow-moving shots and extended sequences are not merely aesthetic choices but are fundamental to the experience of the film. They encourage the viewer to contemplate not only the characters’ psychological states but also the inherent temporal and spatial dimensions that are unique to the medium of film.
Formalist Cinema and Gendered Perspectives
Formalist film theory, while rich in its intellectual rigor, is not immune to critique, particularly from feminist theorists who have highlighted the limitations of its emphasis on the formal over the emotional or relational. The distinction between male and female approaches to film—one ruminating over rational, analytical processes, the other focusing on emotional, relational dynamics—can be observed in formalist cinema. Male directors, especially in the early years of the medium, were often more inclined toward structural exploration and the pursuit of cinematic purity, focusing on form and technique as tools of expression.
In contrast, female filmmakers and critics tend to approach cinema from a more social, emotional, and experiential perspective. For instance, while a male formalist director might focus on the structural elements of a film like Stalker, a female critic or filmmaker might be more likely to emphasize how those same elements communicate the lived experiences of individuals within social contexts, reflecting not just the intellectual but the affective aspects of the viewing experience. Feminist filmmakers such as Agnès Varda and Chantal Akerman have shown how formalist elements can also be used to explore the nuances of gender, intimacy, and relationality.
In Cléo from 5 to 7 (1962), Varda uses formalist techniques—such as time-based structure and framing—to explore the psychological journey of the protagonist, Cléo, during a two-hour period. The structure of the film itself, with its real-time pacing and emphasis on close-ups, serves not only to heighten the emotional experience of the viewer but also to communicate the vulnerability and agency of the female character. The manipulation of form in Varda’s work is deeply tied to emotional and existential experiences, adding another layer to the understanding of formalism as a tool for expression.
Theoretical Implications for the Future of Formalist Cinema
As film theory evolves, the role of formalism continues to be debated. In a world increasingly dominated by digital cinema and special effects, the formalist approach faces challenges. The rapid pace of technological innovation in film raises questions about how these new tools—such as CGI and motion capture—can be used within formalist frameworks. How do these technologies shape our perception of time, space, and reality in ways that traditional film could not? Are we entering a new era of formalism, one in which digital technologies push the boundaries of what is possible in terms of visual and auditory experiences?
Moreover, as the global cinema landscape continues to diversify, formalist approaches must grapple with the tension between universal techniques and culturally specific narratives. Does the focus on form have universal applicability, or does it risk overlooking the unique cultural contexts in which films are made and experienced?
Questions for Reflection
– Can formalist films transcend the intellectual and emotional boundaries set by their structure, or do they risk becoming detached from human experience?
– How do male and female filmmakers differently use formalist techniques to communicate social and emotional content?
– In a world dominated by digital effects, is formalism still relevant, or are new cinematic technologies reshaping the very foundations of film theory?
The evolution of formalist cinema challenges both filmmakers and audiences to consider the deeper implications of form as it relates to content. In an era where visual storytelling is increasingly layered with technology, the formalist approach remains a vital lens through which we can interrogate the complex relationship between medium, meaning, and human experience.