Realism in Film

From the theories of film, realism and expressionism are considered to be the substantial branches whereas they are against each other. Realism, as Chris Baldick suggested in the literary way, "is a mode of writing that gives the impression of recording or 'reflecting' faithfully an actual way of life" (212). He interprets that realism should based on descriptions which must be accurate and detailed and this always refers to recording the reality. In addition, it should reflect the actual problem of life without using idealization, escapism, and romance. The definition for realism specific in the field of film is basically identical to the literary one. Susan Hayward states, "It purports to give a direct and 'truthful' view of the 'real world' through the presentation it provides of the characters and their environment" (311). Filmmakers aim to present the real world to the audiences. It advocates that the real world, rather than those imaginative stories should be shown on the screen. It can also act as an alarm clock to the audience in order to make them alert to the surroundings and tell them what is happening in this society.

As James Monaco interprets, "film ought to exercise this mimetic power in the opposite way: by contradicting, molding, forming, shaping reality rather than reproducing it" (399). In contrast to films of expressionism which make some innovative and supernatural stories, realistic filmmakers bring out their views and thoughts from what they have realized in this society and reality. They reflect some problems which have or have not been discovered by the audience and this reflection instead, will often stimulate the audience to think about what they can be done for this situation and even can bring to a revolution.

There are two main types of realism with regard to film. One is the seamless realism and the other one is aesthetically motivated realism. The former one, "whose ideological function is to disguise the illusion of realism" (Susan Hayward, 311). It aims to stitch the audience into the illusion. Camera-work like lighting, color, sound or editing is not concerned to attract the audiences in order to create the 'reality effect'. On the other hand, aesthetically motivated realism, asserts by Susan Hayward, "attempts to use the camera in a non-manipulative fashion and considers the purpose of realism in its ability to convey a reading of reality, or several readings even" (311). Film techniques are considered to be important in the realist aesthetic.

From the theory of Siegfried Kracauer, realistic film is considered to be a kind of 'antiart' and so it is unnecessary for filmmakers to follow the theories of art and strictly depend on the formalism. Nevertheless, film techniques of realism are employed by the filmmakers. They capture the real shot with less special effect. They employed non-professional actors and often use deep-focus. They shoot on location and natural seldom use expensive equipments. Long takes and the 90-degree angled shot are also welcomed by the realists. In order to prevent any artificial work, films are presented in a transparent and natural way so that the audience will believe that "it is the truth". Therefore, most of the realistic films are documentary over fictional ones.

Besides documentary films which really shows what have happened in the past, several film genres can also be adopted in expressing