Richard Rushton
Search for other papers by Richard Rushton in
Current site
Google Scholar
Filmic reality and the aesthetic regime
Abstract only
Log-in for full text

This chapter analyses Jacques Rancière's approach to cinema as a category of the aesthetic. For him, film is part of the historical bloc in which people live, which defines artworks by means of the category called ‘aesthetics’. People live in an era of what Rancière calls ‘the aesthetic regime’, a regime by means of which art has been defined for the last two hundred years or thereabouts. The cinema, according to him, is very good at telling stories which have a precise beginning, middle and end. Indeed, this is one aspect of art that the cinema almost completely borrows from the representative regime: the ability to tell great stories. The conjunction of the aesthetic and the representative regimes fully defines what film is and which contributes to making it such an important artform. Rancière's contribution is important because it disrupts the quest for ‘purity’ in theories of cinema.

  • Collapse
  • Expand

All of MUP's digital content including Open Access books and journals is now available on manchesterhive.


The reality of film

Theories of filmic reality


All Time Past Year Past 30 Days
Abstract Views 206 113 3
Full Text Views 56 30 0
PDF Downloads 35 17 0