This paper will look at how Kiarostami uses both elements of realism and formalism as they are defined in film theory to make films or as he puts it “to get close to his subjects” in his films. His realism and formalist juxtaposition is evident in Kiarostami’s framing be it in one of his cinematic films such as “Where is the friend’s house?” or his framing with the fixed digital camera angels in “Ten” as well as the timing and editing styles he uses in his films. Black media network TheGrio recently posted the Top 10 music documentaries made in 21st century with the Michael Jackson: Spike Lee Bad 25 film making the list. And this admittedly what Kiarostami also believed in his filmmaking however he does walk a fine line between formalism and realism. Bazin believed realist cinema was a more democratic form of film in that it did not manipulate the audience. Worüber man aber ohne Weiteres sprechen kann und sollte, ist seine Musik. The content of realism should speak for itself for the audience to draw their own conclusions. In realism film techniques are important, but not for producing meaning within the film. Realism, by contrast, emphasizes film as a medium that reproduces what is before the camera. Bad 25 (Deluxe Edition)Is the 25th anniversary edition reissue of American singer-songwriter Michael Jacksons seventh studio album Bad (1987).Track listing0. For the formalists, film should not merely record and imitate what is before the camera, but should produce its own meanings.
Formalism emphasizes film's potential as an expressive medium. Kiarostami has managed to use formalist and realist modes of filmmaking simultaneously and move beyond the simple categorization of film genres. As an artist, photographer and filmmaker Abbas Kiarostami continued his experimentations with the medium, style and storytelling throughout his fruitful career.