The theories of the window and frame had its origins in the schools of formalism and realism. Both schools main objective was to amplify the prestige of film. During that era of film was an upstart sideshow attraction, high class form of entertainment was the theater and the visual art forms of paintings and statues. Both schools saw cinema as a way of looking a through an aperture but keeping the audience at a distance from the subject on the screen. Whether looking through at frame or looking through a window the audience would be viewing the subject matter but they would only be able to absorb it. That’s where the similarities end the formalist lead by theorist Sergei Eisenstein saw film as frame and would create shock in an attempt to provoke or raise consciousness. Sergei Eisenstein would create what he wanted to the audience to see in his films. For example in the Battleship Potemkin Eisenstein wanted to address the situation with Russia and he created the situation in his film to incite a revolution by creating chaos. The realism school lead by André Bazin saw cinema as window. To Bazin a spectator would be apart of the film as more of a witness more than just a spectator. In the movie Rear Window Jefferies was witness to his neighbor wife murder while looking through window because while looking through a window what one sees is real.
Sergei Eisenstein expresses that “an attraction is any aggressive moment in theater” (Sergei Eisenstein Montage of Attraction). So the attraction in cinema is based on what the spectator wants to see and what they expect to see but , it’s also moment in a film the invoke a reaction whether it be physical or cognitive. Depending on the film genre the audience enters the atrium with certain expectations if the film if it is a comedy they are expecting to laugh if it is and action film they are expecting explosions, shoot outs and the rush of adrenaline. The attraction is the expectations and the reactions are what draw in the audience into the seats. The cognitive attraction is what the audience takes away from the film whether it is that the Vietnam War is wrong or he czar threats the people wrong. Eisenstein use of attraction was the montage is his film The Battleship Potemkin utilizing three different cuts denotes three different points of views to implement that everyone has there own ideas and they’re all of equal importance.
André Bazin was a film theorist that addressed realism in film. According Bazin Realism is a quality of film maker. Bazin says that “Because of the complexity of techniques all recourse o nature in the raw, natural setting exteriors sunlight and non professional actors, can themselves establish a form of realism.”(André Bazin, an Aesthetic of Reality) Bazin goes further and says” the personality of the photographer enter the proceeding only in the selections of the items photographed” (André Bazin the Ontology of the Photographic Image). In essence the...