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Abstract

In an essay titled “Film and Reality” formative film theorist Rudolph Arnheim poses a list of "limitations" that a film must adhere to in order to be considered art. "Formalism Exemplified in The Wolf of Wall Street" uses the lens of formative theory to examine Martin Scorsese's sprawling 2013 masterpiece to determine whether or not the film adheres to Arnheim's theory and can be considered film art.

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