From the historical cinema of democratic humanism to the film Novelle
Lukácsian cinematic realism in Danton (1990) and Senso (1954)
in Realist film theory and cinema
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This chapter applies Lukácsian models of literary and cinematic realism to an analysis of Wajda's Danton and Visconti's Senso, arguing that, whilst Danton is at variance with Lukács's models of ‘classical’ and ‘democratic-humanist’ realism, Senso can be considered a work of ‘inverse democratic humanist realism’, rather than ‘classical realism’. Senso can also be regarded as closer to the Lukácsian model than Danton in the sense that, in Senso, ‘the great social-historical antagonisms’ are embodied within the guise of relatively commonplace figures, as opposed to the ‘world-historical’ figures of Danton. The Lukácsian cinema is categorized in two types: films that employ the focused naturalist orientation of the Novelle, and films that employ the more ‘mediated’ framework of the novel. Thus, the chapter concludes by arguing that Lukács's theory of filmic realism can be associated philosophically with a naturalist, phenomenological model of cinematic realism

Realist film theory and cinema

The nineteenth-century Lukácsian and intuitionist realist traditions

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