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Subjective Realist Cinema looks at the fragmented narratives and multiple realities of a wide range of films that depict subjective experience and employ “subjective realist” narration, including recent examples such as Mulholland Drive, Memento, and Eternal Sunshine of the Spotless Mind. The author proposes that an understanding of the narrative structures of these films, particularly their use of mixed and multiple realities, enhances viewers’ enjoyment and comprehension of such films, and that such comprehension offers a key to understanding contemporary filmmaking.
Reality has become an increasingly prominent topic in contemporary philosophy. The book’s contributors are responding to the challenge to use the philosophically underexplored potential of film to disclose what the editors propose to call “the real of reality.”
Pier Paolo Pasolini (1922-1975) was arguably the most complex director of postwar Italian cinema. His films—Accattone, The Canterbury Tales, Medea, Saló—continue to challenge and entertain new generations of moviegoers. A leftist, a homosexual, and a distinguished writer of fiction, poetry, and criticism, Pasolini once claimed that "a certain realism" informed his filmmaking. Masterfully combining analyses of Pasolini's literary and theoretical writings and of all his films, Maurizio Viano offers the first thorough study of Pasolini's cinematic realism, in theory and in practice. He finds that Pasolini's cinematic career exemplifies an "expressionistic realism" that acknowledges its subjective foundation instead of striving for an impossible objectivity. Focusing on the personal and expressionistic dimensions of Pasolini's cinema, Viano also argues that homosexuality is present in the films in ways that critics have thus far failed to acknowledge. Sure to generate controversy among film scholars, Italianists, and fans of the director's work, this accessible film-by-film treatment is an ideal companion for anyone watching Pasolini's films on video.
‘Realist film theory and cinema’ embraces studies of cinematic realism and 19th century tradition, the realist film theories of Lukács, Grierson, Bazin and Kracauer, and the relationship of realist film theory to the general field of film theory and philosophy. This is the first book to attempt a rigorous and systematic application of realist film theory to the analysis of particular films. The book suggests new ways forward for a new series of studies in cinematic realism, and for a new form of film theory based on realism. It stresses the importance of the question of realism both in film studies and in contemporary life. Aitken’s work will be of interest to scholars and advanced students of film studies, literary studies, media studies, cultural studies and philosophy.
Since the early 1990s there has been a trend towards narrative complexity within popular cinema. This book examines a number of contemporary films that play overtly with narrative structure, raising questions of chance and destiny, memory and history, simultaneity and the representation of time.
This book follows the hybrid and contradictory history of magic realism through the writings of three key figures – art historian Franz Roh, novelist Alejo Carpentier, and cultural critic Fredric Jameson – drawing links between their political, aesthetic, and philosophical ideas on art’s relationship to reality. Magic realism is vast in scope, spanning almost a century, and is often confused with neighbouring styles of literature or art, most notably surrealism. The fascinating conditions of modernist Europe are complex and contradictory, a spirit that magic realism has taken on as it travels far and wide. The filmmakers and writers in this book acknowledge the importance of feeling, atmosphere, and mood to subtly provoke and resist global capitalism. Theirs is the history of magic-realist cinema. The book explores this history through the modernist avant-garde in search of a new theory of cinematic magic realism. It uncovers a resistant, geopolitical form of world cinema – moving from Europe, through Latin America and the former Soviet Union, to Thailand – that emerges from these ideas. This book is invaluable to any reader interested in world modernism(s) in relation to contemporary cinema and geopolitics. Its sustained analysis of film as a sensory, intermedial medium is of interest to scholars working across the visual arts, literature, critical theory, and film-philosophy.
This book explores the formal and thematic conventions of crime film, the contexts in which these have flourished and their links with the social issues of a globalized world. The crime film has traditionally been identified with suspense, a heterogeneous aesthetic and a tacit social mind. However, a good number of the crime films produced since the early 2000s have shifted their focus from action or suspense and towards melodrama in narratives that highlight the social dimension of crime, intensify their realist aesthetics and dwell on subjectivity. With the 1940s wave of Hollywood semi-documentary crime films and 1970s generic revisionism as antecedents, these crime films find inspiration in Hollywood cinema and constitute a transnational trend. With a close look at Steven Soderbergh’s Traffic (2000), David Fincher’s Zodiac (2007), Jacques Audiard’s Un prophète (2009) and Tomas Alfredson’s Tinker Tailor Soldier Spy (2011), this book sets out the stylistic and thematic conventions, contexts and cultural significance of a new transnational trend in crime film.
This book explores the question of realism in motion pictures. Specifically, it explores how understanding the role of realism in the history of title sequences in film can illuminate discussions raised by the advent of digital cinema. Ideologies of the Real in Title Sequences, Motion Graphics and Cinema fills a critical and theoretical void in the existing literature on motion graphics. Developed from careful analysis of André Bazin, Stanley Cavell, and Giles Deleuze’s approaches to cinematic realism, this analysis uses title sequences to engage the interface between narrative and non-narrative media to consider cinematic realism in depth through highly detailed close readings of the title sequences for Bullitt (1968), Kolchak: The Night Stalker (1974), The Number 23 (2007), The Kingdom (2008), Blade Runner: 2049 (2017) and the James Bond films. From this critique, author Michael Betancourt develops a modal approach to cinematic realism where ontology is irrelevant to indexicality. His analysis shows the continuity between historical analogue film and contemporary digital motion pictures by developing a framework for rethinking how realism shapes interpretation.
Rites of Realism shifts the discussion of cinematic realism away from the usual focus on verisimilitude and faithfulness of record toward a notion of "performative realism," a realism that does not simply represent a given reality but enacts actual social tensions. These essays by a range of film scholars propose stimulating new approaches to the critical evaluation of modern realist films and such referential genres as reenactment, historical film, adaptation, portrait film, and documentary. By providing close readings of classic and contemporary works, Rites of Realism signals the need to return to a focus on films as the main innovators of realist representation. The collection is inspired by André Bazin's theories on film's inherent heterogeneity and unique ability to register contingency (the singular, one-time event). This volume features two new translations: of Bazin's seminal essay "Death Every Afternoon" and Serge Daney's essay reinterpreting Bazin's defense of the long shot as a way to set the stage for a clash or risky confrontation between man and animal. These pieces evince key concerns—particularly the link between cinematic realism and contingency—that the other essays explore further. Among the topics addressed are the provocative mimesis of Luis Buñuel's Land Without Bread; the adaptation of trial documents in Carl Dreyer's Passion of Joan of Arc; the use of the tableaux vivant by Wim Wenders and Peter Greenaway; and Pier Paolo Pasolini's strategies of analogy in his transposition of The Gospel According to St. Matthew from Palestine to southern Italy. Essays consider the work of filmmakers including Michelangelo Antonioni, Maya Deren, Mike Leigh, Cesare Zavattini, Zhang Yuan, and Abbas Kiarostami. Contributors: Paul Arthur, André Bazin, Mark A. Cohen, Serge Daney, Mary Ann Doane, James F. Lastra, Ivone Margulies, Abé Mark Normes, Brigitte Peucker, Richard Porton, Philip Rosen, Catherine Russell, James Schamus, Noa Steimatsky, Xiaobing Tang
This book analyzes a cycle of early twenty-first-century mind-game films and TV series in which male protagonists retreat into fantasies, dreams, or hallucinations as a means of coping with grief and guilt following the death of a loved one. Discussing films like Memento, Inception, and Shutter Island alongside the TV series Mr. Robot, among others, Rosalind Sibielski highlights how the construction of alternate realities allows the protagonists to work through bereavement and past trauma. Sibielski also argues that, as part of this process, the protagonists not only find themselves questioning their memories and what they believe to be true about their identities, but they are also forced to reevaluate who they are as men and the way that they define their manhood. Finally, Grief, Madness, and Crises of Masculinity in Mind-Game Films examines these stories of intersecting crises of reality and crises of masculinity within the context of millennial culture wars in the US over the way that manhood is, can be, or should be enacted.