Realism: Utilizes sequence shots or edits, includes long, lengthy takes
2001: A Space Odyssey
The majority of the scenes in this film are very lengthy and consist of very few shots in general. While the scenes in which humans interact may not be considered realistic in the same sense, scenes set in deep space or during the rising of the sun, or even when humans/chimpanzees encounter the monolith are still shots, with no movement of the camera itself, and there is no cutting in order to impress a message or mood upon the viewer. The viewer may find the scenes extremely boring, creepy, or even calming, depending on their perspective.
The edit, as previously stated, involves little cutting during shots of outer space, while there is a somewhat normal amount of cutting in conversation scenes. The scenes shot of outer space are lengthy in order to give the viewer a sense of scale and, well, realism. With fast cutting, the viewer can't get an accurate impression of the scale of outer space.
The narrative, like the editing itself, is long-term, and takes place over millennia. The editing, in a way, contributes to the narrative by emphasizing the time scales involved with the story. The long shots correspond with the large amount of time passing.
The edit, as previously stated, involves little cutting during shots of outer space, while there is a somewhat normal amount of cutting in conversation scenes. The scenes shot of outer space are lengthy in order to give the viewer a sense of scale and, well, realism. With fast cutting, the viewer can't get an accurate impression of the scale of outer space.
The narrative, like the editing itself, is long-term, and takes place over millennia. The editing, in a way, contributes to the narrative by emphasizing the time scales involved with the story. The long shots correspond with the large amount of time passing.
Classicism: Cutting to continuity, gives the illusion of time passing, involves cutting for dramatic effect
Fight Club
This film is relatively continuous in terms of time passing. There are multiple flashbacks, but they don't get so complex that they confuse the viewer's sense of the general time flow. It uses a mixture of all kinds of shots, not just close-ups or long-shots. The cutting in the film is what one would most likely call 'classic' or 'average' other than some of the montages that occur. The film respects continuity and uses flashbacks in a way that twists one's perspective of the story at every moment.
The story utilizes continuity to give the viewer the illusion of knowing what's going on, only to use flashbacks in order to show the reality of what has occurred throughout the movie. While this may be considered formalist, the editing leading up to this moment is for the most part classicist and follows the norm.
Formalism
Pulp Fiction
To call Pulp Fiction a formalist film can be considered a bit of a stretch. However, certain aspects of the editing of the story as a whole contribute to the idea that the editing plays a part in impressing the theme of the film upon the viewer. The above scene is one of at least two scenes in the film that is repeated from different perspectives. The first time, it cuts from the man being shot to what might appear to the viewer to be the aftermath. However, later in the film this scene takes place, another perspective of the first scene that shows what actually occurred after the man is executed. In between, the story veers between multiple stories, all of which take place at different points in time.The entire film seems to be a sort of message about the fragility of life and the presence of coincidences and miracles in the everyday, and the editing supports this by showing a 'normal' situation in the beginning, the next few sections having to do with close-calls or sudden deaths, and the last section involves a close escape as a result of the first situation.
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