Abstract

Film theory has long been dominated by the conflict between formalists and realists. According to Singer, “formalists call attention to the technical means by which a filmmaker goes beyond the real world in order to express his or her artistic vision” while realists “emphasize that film records properties of the physical world that lend themselves to the photographic process”. Singer attempts to ply a middle path, which emphasizes films’ ability to transform reality through both realist and formalist means. The book is divided into three parts with each part consisting of one chapter advancing his theory and another applying his theory to a film.