Rites of Realism shifts the dialogue of cinematic realism clear of the standard concentrate on verisimilitude and faithfulness of checklist towards a idea of "performative realism," a realism that doesn't easily characterize a given fact yet enacts real social tensions. those essays through more than a few movie students suggest stimulating new methods to the serious evaluate of contemporary realist movies and such referential genres as reenactment, historic movie, edition, portrait movie, and documentary.
By delivering shut readings of vintage and modern works, Rites of Realism signals the necessity to go back to a spotlight on motion pictures because the major innovators of realist illustration. the gathering is electrified by way of André Bazin’s theories on film’s inherent heterogeneity and particular skill to sign up contingency (the singular, one-time event).
This quantity positive factors new translations: of Bazin’s seminal essay "Death each Afternoon" and Serge Daney’s essay reinterpreting Bazin’s security of the lengthy shot which will set the degree for a conflict or dicy disagreement among guy and animal. those items evince key concerns—particularly the hyperlink among cinematic realism and contingency—that the opposite essays discover further.
Among the subjects addressed are the provocative mimesis of Luis Buñuel’s Land with out Bread; the variation of trial files in Carl Dreyer’s Passion of Joan of Arc; using the tableaux vivant by means of Wim Wenders and Peter Greenaway; and Pier Paolo Pasolini’s ideas of analogy in his transposition of The Gospel based on St. Matthew from Palestine to southern Italy. Essays examine the paintings of filmmakers together with Michelangelo Antonioni, Maya Deren, Mike Leigh, Cesare Zavattini, Zhang Yuan, and Abbas Kiarostami.
Contributors: Paul Arthur, André Bazin, Mark A. Cohen, Serge Daney, Mary Ann Doane, James Lastra, Ivone Margulies, Abe Mark Normes, Brigitte Peucker, Richard Porton, Philip Rosen, Catherine Russell, James Schamus, Noa Steimatsky, Xiaobing Tang [b]
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Extra resources for Rites of Realism: Essays on Corporeal Cinema
Daney, La Rampe, 162. b o d i e s t o o m uc h 23 BAZINIAN CONTINGENCIES Death Every Afternoon André Bazin Translated by Mark A. Cohen I understand that Pierre Braunberger nurtured the idea for this ﬁlm for quite some time. The result shows that it was worth it. The chances are that a noted aﬁcionado like Braunberger saw nothing more in this project than a way to honor and promote bullﬁghting as well as make a ﬁlm his producer would not regret. From this point of view, it was probably a good investment—deservedly so I must add—because bullﬁght lovers will rush to see it while the uninitiated will go out of curiosity.
Better still, the obstinate presence of the camera, far from being neutral, can provoke the transformation. At the end of his text on Allégret’s ﬁlm on Gide, Bazin writes: ‘‘time does not ﬂow. It accumulates in the image until it is charged with an overwhelming potential whose discharge we await, almost with anguish. ’’ comes from the side of the ﬁlmed reality. Then we can orgasm. Trip switch Although the ﬁlmmaker sometimes risks death, it can also happen that he may ﬁlm it without risk or even provoke it by means of his simple presence.
See Arthur, this volume, 109. See David James’s analysis of urban representation, ‘‘Toward a Geo-Cinematic Hermeneutics: Representations of Los Angeles in Non-industrial Cinema—Killer of Sheep and Water and Power,’’ Wide Angle 20:3 ( July 1998): 23–53. Kracauer, Theory of Film, 303. Raymond Williams, ‘‘A Lecture on Realism,’’ Screen 18:1 (1977): 63. Manthia Diawara acknowledges the broad range of aesthetic modes in representing black realities. Still his distinctions seem to forfeit the term realism, as it equates it with the conventions of classical Hollywood narrative or Italian neorealism.