Arnheim

’s Film Theory Essay, Research Paper

Rudolph Arnheim, a devout Formalist, believed that film?s potential to be an art begin where its ability to represent reality ends. He embraced the mysticism and wonder created by the silent film. Being a Gestalt psychologist, looking at the film as a whole, he believed that perception, when pertaining to the audience as well as the auteur, is active. Arnheim also believed in an empirical or objective reality where in the process of apprehension, there is the experience of reality. However, the governing principle surrounding Arnheim?s theory of film was that film falls short of a perfect reproduction of reality. This was where its inherent beauty lies. Arnheim gave six reasons why film falls short of this perfect duplication of reality. By looking at Chaplin?s ?the Gold Rush? and Leacock?s ?Primary?, we will see how these six principles fulfill the core of Arnheim?s thesis.

The first of these principles is ?the projection of solids upon a plane surface?. What Arnheim was suggesting was that when a three dimensional object is projected onto a two dimensional surface the artistic merit lies within what he refers to as ?perceptive projection?, or the ability for the director to show the audience what he wants them to see to create a certain emotion created by different camera angles and devices. In Chaplin?s ?The Gold Rush? this concept is seen when the Tramp is daydreaming of the arrival of the woman he loves and her friends who are supposed to be coming for dinner. At the first impression, the audience is unaware that he is daydreaming and feels a sympathetic joy for the lonesome Tramp. Once, the camera flashes to the Tramp slowly waking up from his dream to the empty house, a stronger feeling of empathy is created towards the character. In Leacock?s ?Primary?, this same principle is applied to the climax of the documentary. While we are waiting for the votes to be tallied, we see Humphrey excited and un-nerved about his early lead in the polls, and Kennedy is seen to be very restless and nervous by placing the viewer in the direct line of vision with these politician creating the illusion that we are sitting with them. When we come to learn, that in fact Kennedy has won, we are able to see the surprising disappointment in Humphrey and the relief in Kennedy.

The second principle of Arnheim?s theory is the ?artistic use of reduced depth?. He believes that the artistic technique of film lies somewhere in between the two-dimensional and three-dimensional world. This reduction of depth intensifies what the audience perceives on the screen and adds to the emotional response of the visuals displayed. In ?The Gold Rush? this concept is seen when the Tramp is trying to hinder the advances of the tall, handsome wealthy on the woman that he loves. After the Tramp dances wit her, he is smitten, and is shown to be courageous by standing in the way of this man. The camera angle from across the room shows the audience the tiny Tramp standing next to the gigantic, good-looking man further illustrating how courageous he feels after dancing with this girl that he loves so much. In ?Primary? we see this same principle when we see Kennedy give a speech to the men and women he is representing. The camera, while showing Kennedy?s address, appears to be lost in the pandemonium of the crowd further illustrating the popularity and momentum of Kennedy?s campaign.

The third principle of Arnheim?s theory is the ?artistic use of the absence of nonvisual sense experiences?. This is done by the director?s or actor?s ability to convey emotions or other reactions with the absence of sound or directly spoon-feeding the desired response to the audience. Arnheim believed this to be one of the major artistic qualities of film. He speak directly of this phenomenon as it relates to Chaplin?s performance in ?The Gold Rush?. He says, ?The spoken word in Chaplin?s films is as rule replaced by pantomime. He does not say that he is pleased that some pretty girls are coming to see him, but performs the silent dance, in which two bread rolls stuck on forks act as dancing feet on the table.? Chaplin?s ability to clearly express his feelings without uttering a single word is where the genius of his filmmaking occurs. In Leacock?s ?Primary?, we see this particular feature shown when Kennedy is anticipating the tallied votes from the primary election. As he sits in a crowded room with smoke hanging overhead in the room and voices talking over one another, we are able to sense Kennedy?s nervousness by his manner of smoking and the intense look of anxiety. Once again, we are shown, not told, of the feelings and emotions that we are sharing with the particular character without the character directly communicating it to the audience.

Another principle of Arnheim?s that helps to depict film as art is the ?absence of the space-time continuum?. This effect is directly created by different editing techniques, such as flash-forward, flashback, slow motion and freeze-frame. These subtle, but unique techniques help the film to transcend the confines of time in reality. This is seen in ?The Gold Rush? when the Tramp and his partner find the gold. The camera then flashes to the two of them, dressed in tuxedos on a cruise ship. While Chaplin uses the technique of flash-forward, the audience is still in touch with the action on the screen without him having to take the a