In Katherine Thomson-Jones (ed.), Current Controversies in the Philosophy of Film. Routledge (2016)

Authors
Robert Hopkins
New York University
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.
Keywords Film  Cinema  Realism
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References found in this work BETA

On the Epistemic Value of Photographs.Jonathan Cohen & Aaron Meskin - 2004 - Journal of Aesthetics and Art Criticism 62 (2):197–210.
Content-Free Pictorial Realism.Alon Chasid - 2007 - Philosophical Studies 135 (3):375-405.

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Citations of this work BETA

Realism in Film: Less is More.Jiri Benovsky - 2017 - Dialogue 56 (1):131-141.

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