Beyond Realism: Naturalist Film in Theory and Practice
Examines the unique cultural and critical history of international naturalist cinemaUses intertextual analysis, incorporating historical, scientific, artistic, literary, and film studies and theories, to develop an ongoing naturalist film narrative praxisHas a comprehensive focus on industrial pract...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
[2024]
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| Schlagworte: | |
| Online-Zugang: | DE-Aug4 Volltext |
| Zusammenfassung: | Examines the unique cultural and critical history of international naturalist cinemaUses intertextual analysis, incorporating historical, scientific, artistic, literary, and film studies and theories, to develop an ongoing naturalist film narrative praxisHas a comprehensive focus on industrial practices and popular film genre and movements from a new aesthetic-critical perspectiveIncorporates of a wide range of international film titles, covering the silent to the contemporary era in production historyBeyond 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 |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024) |
| Beschreibung: | 1 Online-Ressource (280 Seiten) 14 black and white illustrations |
| ISBN: | 9781474426350 |
| DOI: | 10.1515/9781474426350 |
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| 520 | |a Examines the unique cultural and critical history of international naturalist cinemaUses intertextual analysis, incorporating historical, scientific, artistic, literary, and film studies and theories, to develop an ongoing naturalist film narrative praxisHas a comprehensive focus on industrial practices and popular film genre and movements from a new aesthetic-critical perspectiveIncorporates of a wide range of international film titles, covering the silent to the contemporary era in production historyBeyond 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 | ||
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Datensatz im Suchindex
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| author | Singer, Robert |
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| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
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| dewey-search | 791.43/612 |
| dewey-sort | 3791.43 3612 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| doi_str_mv | 10.1515/9781474426350 |
| format | Electronic eBook |
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| isbn | 9781474426350 |
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| physical | 1 Online-Ressource (280 Seiten) 14 black and white illustrations |
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| spelling | Singer, Robert Verfasser aut Beyond Realism Naturalist Film in Theory and Practice Robert Singer Edinburgh Edinburgh University Press [2024] © 2024 1 Online-Ressource (280 Seiten) 14 black and white illustrations txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024) Examines the unique cultural and critical history of international naturalist cinemaUses intertextual analysis, incorporating historical, scientific, artistic, literary, and film studies and theories, to develop an ongoing naturalist film narrative praxisHas a comprehensive focus on industrial practices and popular film genre and movements from a new aesthetic-critical perspectiveIncorporates of a wide range of international film titles, covering the silent to the contemporary era in production historyBeyond 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 In English Film Studies PERFORMING ARTS / Film & Video / Direction & Production bisacsh Naturalism in motion pictures https://doi.org/10.1515/9781474426350 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Singer, Robert Beyond Realism Naturalist Film in Theory and Practice Film Studies PERFORMING ARTS / Film & Video / Direction & Production bisacsh Naturalism in motion pictures |
| title | Beyond Realism Naturalist Film in Theory and Practice |
| title_auth | Beyond Realism Naturalist Film in Theory and Practice |
| title_exact_search | Beyond Realism Naturalist Film in Theory and Practice |
| title_full | Beyond Realism Naturalist Film in Theory and Practice Robert Singer |
| title_fullStr | Beyond Realism Naturalist Film in Theory and Practice Robert Singer |
| title_full_unstemmed | Beyond Realism Naturalist Film in Theory and Practice Robert Singer |
| title_short | Beyond Realism |
| title_sort | beyond realism naturalist film in theory and practice |
| title_sub | Naturalist Film in Theory and Practice |
| topic | Film Studies PERFORMING ARTS / Film & Video / Direction & Production bisacsh Naturalism in motion pictures |
| topic_facet | Film Studies PERFORMING ARTS / Film & Video / Direction & Production Naturalism in motion pictures |
| url | https://doi.org/10.1515/9781474426350 |
| work_keys_str_mv | AT singerrobert beyondrealismnaturalistfilmintheoryandpractice |