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Beyond Realism: Naturalist Film Theory and Practice
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Beyond Realism: Naturalist Film Theory and Practice
Current price: $120.00
Barnes and Noble
Beyond Realism: Naturalist Film Theory and Practice
Current price: $120.00
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Size: Hardcover
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Beyond Realism: Naturalist Film in Theory and Practice
is the first major critical study of international naturalist cinema.
Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. From its earliest representation in silent films such as Walsh's
Regeneration
(1915), and Eisenstein’s
Stachka
/
Strike
(1925), to recent productions such as Chukwu’s
Clemency
(2019), and Aronofsky’s
The Whale
(2022), the naturalist film narrative encompasses the whole of film history, traversing language, movement, and genre. The naturalist film is predicated on two foundational, intersecting paradigms that configure as one ideological system in an overarching scientific and social experimental narrative. Either the scientific or social paradigm may be dominant in the film narrative or they may simply co-exist, but a naturalist film reveals both templates and, most significantly, suggests an implicit cinematic anthropology that renders the body as an observed spectacle.
is the first major critical study of international naturalist cinema.
Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. From its earliest representation in silent films such as Walsh's
Regeneration
(1915), and Eisenstein’s
Stachka
/
Strike
(1925), to recent productions such as Chukwu’s
Clemency
(2019), and Aronofsky’s
The Whale
(2022), the naturalist film narrative encompasses the whole of film history, traversing language, movement, and genre. The naturalist film is predicated on two foundational, intersecting paradigms that configure as one ideological system in an overarching scientific and social experimental narrative. Either the scientific or social paradigm may be dominant in the film narrative or they may simply co-exist, but a naturalist film reveals both templates and, most significantly, suggests an implicit cinematic anthropology that renders the body as an observed spectacle.
Beyond Realism: Naturalist Film in Theory and Practice
is the first major critical study of international naturalist cinema.
Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. From its earliest representation in silent films such as Walsh's
Regeneration
(1915), and Eisenstein’s
Stachka
/
Strike
(1925), to recent productions such as Chukwu’s
Clemency
(2019), and Aronofsky’s
The Whale
(2022), the naturalist film narrative encompasses the whole of film history, traversing language, movement, and genre. The naturalist film is predicated on two foundational, intersecting paradigms that configure as one ideological system in an overarching scientific and social experimental narrative. Either the scientific or social paradigm may be dominant in the film narrative or they may simply co-exist, but a naturalist film reveals both templates and, most significantly, suggests an implicit cinematic anthropology that renders the body as an observed spectacle.
is the first major critical study of international naturalist cinema.
Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. From its earliest representation in silent films such as Walsh's
Regeneration
(1915), and Eisenstein’s
Stachka
/
Strike
(1925), to recent productions such as Chukwu’s
Clemency
(2019), and Aronofsky’s
The Whale
(2022), the naturalist film narrative encompasses the whole of film history, traversing language, movement, and genre. The naturalist film is predicated on two foundational, intersecting paradigms that configure as one ideological system in an overarching scientific and social experimental narrative. Either the scientific or social paradigm may be dominant in the film narrative or they may simply co-exist, but a naturalist film reveals both templates and, most significantly, suggests an implicit cinematic anthropology that renders the body as an observed spectacle.
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