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Ian Aitken

posthumous publication of Toward the Ontology of Social Being (1971–73) (hereafter referred to as the Ontology ). The other took the form of a more practically oriented exertion to both demoralise the raison d’être of orthodox communist ideology, and replace that rationale with one associated with forms of ‘humanist socialist Marxism’ (Shafai, 1996 : 1). This latter objective, which

in Lukácsian film theory and cinema
The short films (2010–11)
Deborah Martin

shared concern with fluid ontologies and becom­ ings, where the formlessness of water is suggestive of an opposition to established forms, recalling the meanings often assigned to water in myth.1 In Cinema 2, Deleuze observes the ‘liquid quality which […] marks the visual image in Marguerite Duras’, a quality which he sees in ‘the tropical Indian humidity which rises from the river, but which spreads out on the beach and in the sea as well [in India Song]’ and in ‘the dampness of Normandy which already drew Le camion from the Beauce to the sea […]’ (1989, 248). Such

in The cinema of Lucrecia Martel
Derek Schilling

mentor’s ‘first principle’: ‘Le cinéma apparaît comme l’achèvement dans le temps de l’objectivité photographique’ (Cinema appears as the completion in time of photographic objectivity) (Rohmer 1984 : 153/ 1989 : 97). This thesis of film’s mechanical, objective character, which Bazin first proposed in a landmark essay of 1945 on the ‘ontology’ of the photographic image, heralded in Rohmer’s view a Copernican revolution, for

in Eric Rohmer
Richard Rushton

undeniably real, and, granted the time and space provided by depth of field and the long take, reality will be free to yield its beauty and mystery.19 Most film scholars seem quite content to dispense with Bazin along such lines. For example, Robert Stam and Sandy FlittermanLewis infer that the kind of realist ontology pursued by Bazin was overcome by a critique of the mimetic basis of that ontology. ‘Film theory’, they argue, ‘gradually transformed itself from a meditation on the film object as the reproduction of pro-filmic phenomena into a critique of the very idea of

in The reality of film
Boom! (1968), Secret Ceremony (1968) and Figures in a Landscape (1970)
Colin Gardner

confine his protagonists within hermetically sealed environments so that serious ontological issues of life, death and sex are divorced from all social and political (i.e. class) relevance. This has led critics such as Jean-Pierre Coursodon to question whether Losey had any legitimate Brechtian credentials in the first place: Losey, no matter what many critics and he himself

in Joseph Losey
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Sentient ink, curatorship and writing the new weird in China Miéville’s Kraken: An anatomy
Katharine Cox

meaning-making represented by Tattoo (a structuralist harking after the ‘perfect’ semantic moment) and Grisamentum (a poststructuralist). Harrow, meanwhile, has evolved beyond this. He combines imaginative thinking with literal understanding of metaphor. As he begins to belong in the alternant London, he gives ‘equal ontological weight to both the metaphor and the thing it “really” stands for’ (Vint 2015 : 51). As Christopher Palmer claims, ‘[l]iteralism is important to the whole project of Kraken ’ ( 2014 : 171). This is reflected in Miéville’s multi-faceted approach

in Tattoos in crime and detective narratives
The mise-en-scène of mise-en-scène
Peter Buse, Núria Triana Toribio and Andy Willis

‘location’, they invariably reconstruct that location to suit the demands of the film. This is a cinema, then, which pulls against the ‘ontology of the photographic image’ identified by André Bazin. According to Bazin, the cinema has a privileged relation to the real, and ‘enjoys a certain advantage in virtue of this transference of reality from the thing to its reproduction’ (1967, 14). We find instead in these films a working on, a distortion, or a fabrication of fictional worlds, into which, as we have argued in the previous chapter on 800 balas, shards of social

in The cinema of Álex de la Iglesia
Christine Cornea

’s animated cartoon comedy, but this is located in the presence assumed by the star voice-over. Alternatively, as a genre that has long been concerned with displacing ontological certainty, any sense of presence that a star performer might confer is often diluted in science fiction cinema. A Scanner Darkly works with the codes and conventions of both the animated cartoon and science fiction film and playfully puts the power of performance

in Genre and performance
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Felicity Chaplin

of time’ (67). Transformation is one of the key concepts or motifs associated with la Parisienne, and points to a deeper ontological mystery about her identity or essence. As Houssaye remarks: ‘Aujourd’hui, ce n’est plus la même femme; demain, nouvelle métamorphose. Elle surprend par l’imprévu’ (273) (Today, she is no longer the same woman; tomorrow, new metamorphosis. She surprises with the unexpected). In films featuring la Parisienne, costume is perhaps the main way of signifying transformation or change. In Frantic and 8 femmes this change takes place in

in La Parisienne in cinema
A study of Georg Lukács’ writings on film, 1913–71
Author: Ian Aitken

This book explores Georg Lukács' writings on film. The Hungarian Marxist critic Georg Lukács is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English until now. This book contains the most important writings and the translations. This book thus makes a decisive contribution to understandings of Lukács within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukács' literary theory is well known for its repudiation of naturalism, in his writings on film Lukács appears to advance a theory and practice of film that can best be described as naturalist. Lukácsian film theory and cinema is divided into two parts. In part one, Lukács' writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves.