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Rudolph Arnheim a devout Formalist believed that films 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 Arnheims 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 Chaplins the Gold Rush and Leacocks Primary we will see how these six principles fulfill the core of Arnheims thesisThe 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 Chaplins 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 Leacocks 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
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