in Realist film theory and cinema
Abstract only
Get Access to Full Text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Access Tokens

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter highlights that film theory is faced with two related requirements, namely, to extend the range of theoretical perspectives and core concepts available to the discipline, and to connect with ideas from other fields. Realist film theory and cinema provide an overview of nineteenth-century Lukácsian and intuitionist realist film theory. The relationship between philosophical realism and film theory needs to be explored further, as the question of realism and the cinema impinges upon other disciplines, including history, the philosophy and psychology of perception, gender theory, linguistics, phenomenology, information science, ethnography, artificial intelligence theory and branches of cognitivist research. The chapter explains that realism can also furnish models of theory and evidence, which may be particularly useful in the field of the documentary film. All of these constitute possible ways forward for future studies of cinematic realism, studies that may eventually come to establish a new paradigm.

Realist film theory and cinema

The nineteenth-century Lukácsian and intuitionist realist traditions



All Time Past Year Past 30 Days
Abstract Views 34 23 1
Full Text Views 12 5 0
PDF Downloads 5 3 0