In Katherine Thomson-Jones (ed.), Current Controversies in the Philosophy of Film. Routledge (2016)
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Abstract |
What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper question: what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image.
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Keywords | Film Cinema Realism |
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References found in this work BETA
Transparent Pictures: On the Nature of Photographic Realism.Kendall L. Walton - 1984 - Critical Inquiry 11 (2):246-277.
Transparent Pictures: On the Nature of Photographic Realism.Kendall L. Walton - 1984 - Noûs 18 (1):67-72.
On the Epistemic Value of Photographs.Jonathan Cohen & Aaron Meskin - 2004 - Journal of Aesthetics and Art Criticism 62 (2):197–210.
Projecting Illusion: Film Spectatorship and the Impression of Reality.Richard Allen - 1995 - Cambridge University Press.
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Citations of this work BETA
Modal Realism and the Possibility of Island Universes: Why There Are No Possible Worlds.Jiri Benovsky - 2021 - Metaphysica 22 (1):1-13.
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