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Two schools of formalist literary criticism developed, Russian formalism, and soon after Anglo-American New Criticism. Formalism was the dominant mode of academic literary study in the US at least from the end of the Second World War through the 1970s, especially as embodied in René Wellek and Austin Warren's Theory of Literature (1948, 1955 ...
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New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object.
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Biographical Criticism, like New Historicism, rejects the concept that literary studies should be limited to the internal or formal characteristics of a literary work, and insists that it properly includes a knowledge of the contexts in which the work was created. Biographical criticism stands in ambiguous relationship to Romanticism. It has ...
Formalist film theory is an approach to film theory that is focused on the formal or technical elements of a film: i.e., the lighting, scoring, sound and set design, use of color, shot composition, and editing. This approach was proposed by Hugo Münsterberg, Rudolf Arnheim, Sergei Eisenstein, and Béla Balázs. [1]
Traditional text-oriented schools, such as formalism, often think of reader-response criticism as an anarchic subjectivism, allowing readers to interpret a text any way they want. Text-oriented critics claim that one can understand a text while remaining immune to one's own culture, status, personality , and so on, and hence "objectively."
Literary criticism was influenced by the values and stylistic writing, including clear, bold, precise writing and the more controversial criteria of the author's religious beliefs. [11] These critical reviews were published in many magazines, newspapers, and journals. The commercialization of literature and its mass production had its downside.