World Cinema and the Ethics of Realism

Overview

World Cinema and the Ethics of Realism is a highly original study. Traditional views of cinematic realism usually draw on the so-called classical cinema and its allegiance to narrative mimesis, but Nagib challenges this, drawing instead on the filmmaker's commitment to truth and to the film medium's material bond with the real.

Starting from the premise that world cinema's creative peaks are governed by an ethics of realism, Nagib conducts comparative case studies picked from ...

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Overview

World Cinema and the Ethics of Realism is a highly original study. Traditional views of cinematic realism usually draw on the so-called classical cinema and its allegiance to narrative mimesis, but Nagib challenges this, drawing instead on the filmmaker's commitment to truth and to the film medium's material bond with the real.

Starting from the premise that world cinema's creative peaks are governed by an ethics of realism, Nagib conducts comparative case studies picked from world new waves, such as the Japanese New Wave, the French nouvelle vague, the Cinema Novo, the New German Cinema, the Russo-Cuban Revolutionary Cinema, the Portuguese self-performing auteur and the Inuit Indigenous Cinema. Drawing upon Badiou and Rancière, World Cinema and the Ethics of Realism revisits and reformulates several fundamental concepts in film studies, such as illusionism, identification, apparatus, alienation effects, presentation and representation. Its groundbreaking scholarship takes film theory in a bold new direction.

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Product Details

  • ISBN-13: 9781441165831
  • Publisher: Bloomsbury Academic
  • Publication date: 12/19/2010
  • Pages: 312
  • Product dimensions: 5.90 (w) x 8.90 (h) x 0.90 (d)

Meet the Author

Lúcia Nagib is Centenary Professor of World Cinemas at the University of Leeds. Her single-authored books include: Werner Herzog: Film as Reality (Estação Liberdade), Around the Japanese Nouvelle Vague (Editora da Unicamp), Born of the Ashes: The Auteur and the Individual in Oshima's Films (Edusp), The Brazilian Film Revival: Interviews with 90 Filmmakers of the 90s (Editora 34) and Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris). She is the editor of The New Brazilian Cinema (I.B. Tauris), Ozu (Marco Zero), Master Mizoguchi (Navegar), Realism and the Audiovisual Media (with Cecília Mello, Palgrave) and Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris).

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Table of Contents

List of Illustrations ix

Acknowledgements xiii

Introduction 1

Realism, Presentation, Representation 3

Presentational Ethics 8

Part I Physical Cinema

Chapter 1 The End of the Other 19

Physical Realism 23

The Missing Other 32

Atanarjuat, The Fast Runner 34

Yaaba 42

God and the Devil in the Land of the Sun (Black God, White Devil) 51

The 400 Blows 64

Chapter 2 The Immaterial Difference: Werner Herzog Revisited 74

The Excessive Body 74

Literal Difference 82

Physical Difference 93

Representational Difference 103

Part II The Reality of the Medium

Chapter 3 Conceptual Realism in Land in Trance and I Am Cuba 125

Allegorical Real 131

Reality as Process: Trance in Land in Trance 138

Trance, Sexuality and the Christian Myth in I Am Cuba 143

Mimesis of the Principle 148

Concluding Remarks 155

Chapter 4 The Work of Art in Progress: An Analysis of Delicate Crime 157

Part III The Ethics of Desire

Chapter 5 The Realm of the Senses, the Ethical Imperative and the Politics of Pleasure 177

Originality, Beauty and the Porn Genre 181

The Eroticized Nation 187

Sex in Red and White: Double Suicide 193

Anti-realism and Artistic Real 198

The Participative Voyeur and the Eroticized Apparatus 203

Part IV The Production of Reality

Chapter 6 Hara and Kobayashi's 'Private Documentaries' 219

Historical Time 220

Phenomenological Time 226

Active Subjects 231

Chapter 7 The Self-Performing Auteur: Ethics in João César Monteiro 236

Ethics of the Impossible Real 238

God's Autobiography 246

The History Man 255

Notes 262

Bibliography 267

Index 279

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