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Ian Aitken

had crossed swords with Sartre in the Sorbonne. In this respect, Lukács’ engagement with the work of Solzhenitsyn in the 1960s can also be viewed as an attempt to both appropriate the work of a major dissident figure in exile to the democratic-socialist cause, and further promote a form of literary critical realism within the Soviet Bloc. Whether intended or not, this stance on the

in Lukácsian film theory and cinema
Metrosexuality and The Murder of Stephen Lawrence
Geraldine Harris

:phil:Public Conclusion: beyond (simple) representation? 171 ultimately I do tend to lean towards the privileging of certain types of aesthetic strategies over others. These are often (but not always) closer to Nelson’s notion of ‘critical post-modernism’ than his ‘critical realism’. However, for me, this is once again, to paraphrase Butler, a matter of the necessity of provisionally instating a position, while attempting at the same time to open it up ‘as a permanent site of contest’ (see Butler, 1993: 222). Nevertheless, in foregrounding these political alignments, in comparison to

in Beyond representation
Cinematic realism, philosophical realism and film theory
Ian Aitken

Meissonier, Alexandre Cabanel and others and contemporaneous ‘realist’ painting which ‘does not create a smooth, invisible surface which is a window into the scene beyond’. 16 As we have seen, the naturalists also made a clear distinction between what they thought of as ‘genuine’ realism and the art work which puts forward ‘a bland photographic view of life’. 17 This means that nineteenth-century critical realism must be

in Realist film theory and cinema
Ian Aitken

historical film, a revolutionary film which has brought our cinematic history to a new peak’. (Liehm, 1984 : 148) As we have seen, after the death of Stalin in 1953 Lukács’ model of critical realism become more influential, particularly in western Europe; and Lukács’ reputation was also further enhanced by his involvement in, first, the Hungarian

in Lukácsian film theory and cinema
Dave Rolinson

summaries lies the danger of essentialism; descriptive naturalism possesses its own ideological dynamism. Observing that the ‘classic realist text’ was used ‘as the straw man against which both Modernist innovation and critical realism in a Brechtian mode were measured’, Bignell, Lacey and Macmurraugh-Kavanagh (2000: 88) noted that 1960s drama-documentaries could be seen as ‘modernist rather than realist, with their concern to explore issues of form and their sense of engagement with the contemporary’. This was Dennis Potter’s view in the 1970s; even whilst arguing for

in Alan Clarke
Abstract only
Robin Wilson

. There is, moreover, an epistemological critique here, informed by ‘critical realism’ (Benton and Craib, 2001; Sayer, 2000), which recognises that science is a social activity but that real objects are independent of it. Critical realism distinguishes the real world from interpretive schemata and scripts utilised by social actors to comprehend it. As Brubaker (2004: 81) argues, ‘race, ethnicity and

in The Northern Ireland experience of conflict and agreement
Tim Woods

: 63). Coetzee is suspicious of the testimonial concept (or the bearing witness to) embedded within realism, and his engagement with history appears indirect when put side by side with the staunch realism linked to black prose fiction, or the work of Nadine Gordimer. Nevertheless, as Dominic Head notes, this obliqueness of historical engagement is largely predicated upon a Lukácsian ‘critical

in African pasts
Martin O’Shaughnessy

possibility of pleasurable contact with others (Serceau 1985b : 233–5). River shows the unhappiness both of characters who renounce material satisfaction for chimeric romantic love and of those who seek to deny the flux and disorder of the world. It is seen as Renoir’s last pessimistic film. Thereafter, in the fourth and final period identified by Serceau, Renoir turns away from critical realism (Serceau 1985a : 21) and becomes a moralist who seeks to

in Jean Renoir
Abstract only
Mary P. Wood

Affair , 1972), Lucky Luciano (1973), Cadaveri eccellenti ( Illustrious Corpses , 1975) are generally regarded as critical realism, but like his earlier film investigating the death of the Sicilian bandit, Salvatore Giuliano (1961), are also examples of the giallo politico . They contain many set pieces of showy and spectacular mise-en-scène , and the foregrounding of architectural space in wide-angle long shots. They

in European film noir
Abstract only
Anastasia Marinopoulou

critical realism. Such a discussion remains for the next chapter to analyse and criticize. Notes 1 Niklas Luhmann, Introduction to Systems Theory (Cambridge:  Polity Press, 2013), 254. 2 ‘There are no sufficient indications for the exhaustion of what is possible, for rationalization. We live, as we know since the earthquake in Lisbon, not in the best possible world, but in a world full of better possibilities.’ Author’s translation from Jürgen Habermas and Niklas Luhmann, Theorie der Gesellschaft oder Sozialtechnologie –​ Was leistet die Systemforschung? (Frankfurt

in Critical theory and epistemology