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


Abstract
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.
Keywords No keywords specified (fix it)
Categories (categorize this paper)
Options
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

PhilArchive copy


Upload a copy of this paper     Check publisher's policy     Papers currently archived: 59,735
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

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.

Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

Analytics

Added to PP index
2011-01-07

Total views
6 ( #1,083,130 of 2,432,430 )

Recent downloads (6 months)
1 ( #465,713 of 2,432,430 )

How can I increase my downloads?

Downloads

My notes