A Different P.O.V. of Formalism

When one thinks of Formalism, traditional and structured come to mind. However, some Russian authors, such as Tolstoy, believe the antithesis of this theory. While sometimes structure and literary balance can be appreciated, art would be lost without unique interpretations of art, literature, and film.

Ambiguity, which the traditional meaning of formalism fights against, becomes the partner of Russian meaning of Formalism. The first definition suggest that the audience does not need to know the background of a character or a scene, while the second interpretation suggest this is worth figuring out. This is how I understood the chapter in our textbook. Creativity is encouraged more with the revised meaning.

Poetry, for example, uses similes, metaphors, and symbols to express thought rather than just coming out and saying the literal word. Also, certain art (which I'm searching for at press time) someone may be shown with their back towards the camera or easel, to show mystery. One does not know what he/she might be thinking, but by body language this can be explored further. Granted, sometimes in audience wants nothing more than the answers right in front in front of them. Yet, the choice to have different forms of expression is priceless.

The Godfather and Longinus

The Godfather and Longinus
The scene in The Godfather where Michael Corleone assassinates two corrupt officials fits the mold of Longinus: On the Sublime. Some of the factors he believes makes exceptional art are the key elements of this scene. Longinus wrote that some of the characteristic of the sublime are, “the ability to form grand conceptions, and the stimulus of powerful and inspired emotion” (Longinus 121). This scene show is an example of these concepts.

As the three characters are sitting at the table the power of Michael’s subtle, yet commanding expression intoxicates the audience. He knows he will kill them, thus enhancing the dramatic tension and emotion that is quietly building behind his eyes.

The officials talk as though they have the power, but Michael and audience are privy to evidence that will prove contrary to their arrogant belief. Anticipation of their demise proves to be the lure, which causes many viewers to watch the scene over and over again.

One can repeatedly analyze his expression alone and come up with a different meaning each time. Longinus says, “for a piece is truly great only if it can stand up to repeated examination, and if it is difficult, or, rather, impossible to resist its appeal, and it remains firmly and ineffaceably in the memory” (120). The lure to stay glued to the television during this scene, not to mention the whole movie adheres to Longinus’s definition of worthy art.

Another example of Longinus’s opinion of what constitutes respectable art is grand conceptions. The idea and concept to have Michael excuse himself to the bathroom only to have difficulty finding his gun, presents a flaw in the plan, which might happen in real life, thus, engrossing the viewer. Then as Michael sits expressionless, yet overflowing with expression watching then killing his prey, is just priceless and certainly in Longinus’s word. “grand.”

Grand conceptions do not necessarily have to be overblown so the quiet intensity of this scene might have been something Longinus would have approved of. He stated, “One must therefore know in each case where to draw the line….. if such expressions are strained too far they fall flat” (157).

The beauty of this scene is that while it could be scene as overblown, the only over dramatic beat is the music at the end of the execution. However, as Michael drops the gun, raises his hands and briskly walks out the door, while the few patrons in the restaurant carefully scurry away, could not be more genuine. This clip from The Godfather is a wonderful example of the rules which Longinus: On the Sublime thinks great art should emulate.
　
　
　
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Work Cited
Longinus. “Longinus: On the Sublime.” Classical Literary Criticism. Trans. Penelope
Murray and T.S. Dorsch. London: Penguin Books, 1965.

What are Theories?

My answer to that is a big "HUH?"
I hope this class will help me to understand the many theories I am sure we will be asked to interpret. I generally don't think about which one to apply while I am reading a novel, watching a film, or listening to music. This class will be a definite challenge for me. The thing I use to help understand different types of art is the point of view of the character or characters involved in the plot or lyrics. Surely, there must be some term for this. There are also, as many classmates echoed, the historical, social, and cultural times in which a piece is written to consider in understanding a piece of art. If one knows what was going on in the year a novel was written, the language and theme of it make more sense. This allows the reader to move on with the rest of the plot, rather than dwelling on why an author may be using a specific language or slang. I hope my confused mind will come up with a clearer understanding of critical theories, because currently they remind me of mathematical equations. Math tends to bring me thoughts of running in front of oncoming traffic. I am an English major so I bring optimism that Critical Theory will not be as horrific. Wish me luck. I am certain I will need it.