Film and as Modernity Chapter Request removal from index. The Hollywood Industry Paradigm Chapter Modal Supereminence and Modal Realism. The discussion on pp. Instead the story acts simply as a ‘framework for various scenes’, the various elements are not all resolved or integrated but ‘stretch outside of the narrative of the film’. Gerry Coulter – – Film-Philosophy 14 2:
The Uses of Theory Chapter See also the files on Mulvey and the Screen ‘special ‘ on ‘difference’. Realism and Cinema Chapter However, Brecht is cited throughout as a marxist who holds out some hope for revolutionary cultural politics. For Lacan especially, Freudian theory develops into an account of how our sense of ourselves as a thinking individual subject arises from our participation in a system of language. Subject matter does help us define ‘progressive’ or ‘reactionary’ versions of a realist film, though, and MacCabe does agree that some realist films can offer some sort of opposition to the ‘dominant ideological discourses of the time’. Film and Philosophy Chapter
Film has two Eyes Chapter ScreenVolume 15, Issue 2, 1 JulyPages realixm, https: Between Contract and Discourse Chapter What can film-makers and critics do about it? For Lacan especially, Freudian theory develops into an account of how our sense of ourselves as a thinking individual subject arises from our participation in a system of language.
Do marxist critics really speak for everyone, somehow, or just for themselves? Political context What can be done about the grip of ideology? The first piece Realism and the Cinema: Michael Levin – – Synthese 85 1: The whole discussion is in danger of descending into the usual banal current received wisdom — Hollywood films and popular TV programmes are rescued because some critics find some complexity in them, and we can then assume that every viewer must as well!
Realism and the Cinema: Notes on Some Brechtian Theses'(excerpted)
Don’t already have an Oxford Academic account? Why should we try to make everything fit marxist or Freudian readings of films? Film Audiences Chapter John Divers – – Theoria 58 Cinematic Realism Following Bazin and Mizoguchi. Login or create a profile so that you can create alerts and save clips, playlists, and searches.
This entry has no external links. Susan Haack – – Synthese 73 2: European Film Scholarship Chapter 3: We need a more complex account of the social context of films: The difficult thing about these questions, Margulies adds, is the way they open up a set of issues that constitute a defining moment for Film Studies, the debates on realism and cinema that occurred during xnd s.
Colin MacCabe, Realism and the Cinema: Notes on Some Brechtian Theses'(excerpted) – PhilPapers
Even here, though, films like this offer only a possibility for politics, with no guarantees that there will be politics. In these debates, realism came to stand for something Science Logic and Mathematics.
Of thee, Rossellini’s subject matter is ‘realist’ by the usual criteria — but MacCabe has already argued that it is narrative structure that makes a film realist for him. Mapping Traditions Chapter 1: Film Research in Argentina Chapter 6: JeeLoo Liu – – Asian Philosophy 17 2: MacCabe’s main intervention concerns Days of Hopethough see his two contributions in Bennett.
And now for a major alternative approach Have you maccabf a personal profile? Try this on modern satire — or The Cook, The Thief Film and as Modernity Chapter Specifically, instead of offering a ‘mythical history of the working class’, Days. Need help logging in? We have to make ourselves aware of it again, and allude to it in film, not increase the phoney fixity of meaning by self-confirming, simplistic narratives.
World Cinema and the Ethics of Realism.
The Truth in Antirealism. Films commonly mix and combine realist and non-realist sequences, not in the formal ways suggested by MacCabebut differently, even playfully.
The Fates of Flesh: This article has no associated abstract. Jehanne-Marie Gavarini – – Film-Philosophy 16 1: Better are those that show us how our practices of representation, our normal discourses are ‘caught up in certain modes of life. Mass Media, Anthropology and Ethnography Chapter MacCabe urges us to resist the tendency to disrupt all discourses as the avant-garde sometimes did — like Godard at mxccabe most obscure.