in Realist film theory and cinema
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This chapter explores two traditions of realist film theory and cinema, namely, ‘intuitionist realist tradition’ and the ‘nineteenth-century Lukácsian tradition’.It examines the rejection of the supposed distinction between a phenomenological and a realist Kracauer, arguing that phenomenology and realism can be discerned within both Kracauer's early and late writings, as part of a sustained critique of mainstream cinema as a force for both the reinforcement of abstraction and dominant ideology, and the liberation of the subject. Realist film theory and cinema attempt to reconnect some gaps, in particular, those that have emerged between categories such as ‘realism’, ‘anti-realism’ and ‘modernism’. The chapter focuses on the substantive assessment of the shared ideas that link the three main theorists within the classical intuitionist realist tradition and of the relationship between realist film theory and relevant aspects of contemporary film theory.

Realist film theory and cinema

The nineteenth-century Lukácsian and intuitionist realist traditions


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