The cadaver's pulse : film theory's construction of the viewer and the real

The thesis examines the nature of the "real" in the cinema; I overview the theories that are historically used, and offer some alternative models. First, I survey how the "real" has been traditionally theorized in film theory. The realist/anti-realist debate is addressed; the psycholinguistic theory of Jacques Lacan and Jean Baudrillard's postmodern model of the hyperreal are reexamined in light of their profound effect on film theory's model of the cinematic "real." I argue against these theories as models of spectatorship and the "real" because of their hermetic nature.
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References found in this work BETA

Prisms.Theodor W. Adorno (ed.) - 1983 - MIT Press.
Qu'est-ce qu'un auteur?Michel Foucault - 1969 - Société Française de Philosophie, Bulletin 63 (3):73.
Photography, Painting and Perception.Gregory Currie - 1991 - Journal of Aesthetics and Art Criticism 49 (1):23-29.

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