Formalist film theory

Formalist film theory is a theory of film study that is focused on the formal, or technical, elements of a film: i.e., the lighting, scoring, sound and set design, use of color, shot composition, and editing. It is a major theory of film study today.

Formalism, at its most general, considers the synthesis (or lack of synthesis) of the multiple elements of film production, and the effects, emotional and intellectual, of that synthesis and of the individual elements. For example, take the single element of editing. A formalist might study how standard Hollywood "continuity editing" creates a more comforting effect and non-continuity or jump cut editing might become more disconcerting or volatile.

Or one might consider the synthesis of several elements, such as editing, shot composition, and music. The shoot-out that ends Sergio Leone's Spaghetti Western "Dollars" trilogy is a notable example of how these elements work together to produce an effect: The shot selection goes from very wide to very close and tense; the length of shots decreases as the sequence progresses towards its end; the music builds. All of these elements, in combination rather than individually, create tension.

Formalism is unique in that it embraces both ideological and auteurist branches of criticism. In both these cases, the common denominator for Formalist criticism is style. Ideologues focus on how socio-economic pressures create a particular style, and auteurists on how auteurs put their own stamp on the material. Formalism is primarily concerned with style and how it communicates ideas, emotions, and themes (rather than, as critics of formalism point out, concentrating on the themes of a work itself).

Two examples of ideological interpretations that are related to formalism:

The classical Hollywood cinema has a very distinct style, sometimes called the Institutional Mode of Representation: continuity editing, massive coverage, three-point lighting, "mood" music, dissolves, all designed to make the experience as pleasant as possible. The socio-economic ideological explanation for this is, quite crassly, that Hollywood wants to make as much money and appeal to as many ticket-buyers as possible.

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