The exert from A Wedding in the Family (2000) featured above is a clear illustration of Watson making a direct connection between the formal devices of the medium and the processes he uses to construct his narrative. Based around the wedding ceremony of a young couple, A Wedding in the Family (2000) explores the institution of marriage in contemporary society through interviews with the respective bride and grooms wider family. Providing accounts of their experiences of married life and examining the various dynamics that operate within the family Watson formulates an objective argument within the narrative that brings in to question validity and sanctity of marriage in the twenty first century. In the scene above we see his methods at work. By using the reflections of the camera and presenting his methods in such a stark fashion, he directly communicates the canvas with which he is working with to the audience and challenges them to see this is a perspective of reality which is being purposely constructed by the filmmaker. In relation to the narrative, this process acts as a direct disruption or deformation of the perceived relationship between space and time. If we apply a formalist approach, we see that Watson employs a complex syuzhet pattern to deliberately disrupt the flow of the fabula. As we keep intercutting between images of the grooms parents with images of Paul in reflection Watson is pushing and pulling the viewer in to and away from the percieved reality of the filmic world. Utilising the formal devices of editing and shot composition, he creates a dialogue between the story and methods with which he tells that story. In my opinion, this is the very essence of formative theory where form collides with narrative to challenge the viewers perception of events. This view also aligns itself with Tynianov’s conceptions of a work of art, in his case literature, where the narrative fluctuates and switches dynamics in the methods it employs to reveal its formal systems. This process of revealing form is a common feature throughout Paul Watson’s work and is a strong indication of his deep understanding of how audiences interact with and receive narrative, this is also a strongest facets of formalist debate.