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Full Description
This book presents the bold and original proposal to replace the general appellation of 'world cinema' with the more substantive concept of 'realist cinema'. Veering away from the usual focus on modes of reception and spectatorship, it locates instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: 'noncinema', or a cinema that aspires to be life itself; 'intermedial passages', or films that incorporate other artforms as a channel to historical and political reality; and 'total cinema', or films moved by a totalising impulse, be it towards the total artwork, total history or universalising landscapes. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, proving that realism is timeless and inherent in cinema from its origin.
Contents
List of Illustrations,Acknowledgements,Introduction, Part I Non-cinema, 1 The Death of (a) Cinema: The State of Things, 2 Jafar Panahi's Forbidden Tetralogy: This Is Not a Film, Closed Curtain, Taxi Tehran, Three Faces, 3 Film as Death: The Act of Killing, 4 The Blind Spot of History: Colonialism in Tabu, Part II Intermedial Passages, 5 The Geidomono Genre and Intermedial Acting in Ozu and Mizoguchi, 6 Intermedial History-Telling: Mysteries of Lisbon, 7 Passages to Reality: The Case of Brazilian Cinema, Part III Towards Total Cinema, 8 The Reality of Art: Ossessione, 9 Historicising the Story through Film and Music: An Intermedial Reading of Heimat 2, 10 Total Cinema as Mode of Production, Bibliography, Index.
