Beyond Realism

Naturalist Film in Theory and Practice

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de Robert Singer

Type: Studies
Sujet: Theory
Mots Clés: naturalist cinema, theory
Année d'édition: 2024 (April 30, 2024)
Editeur: Edinburgh University Press
Langue: anglais

Taille du livre

Format

Hardcover • 280 pages
6 x 9 ¼ inches (15.5 x 23.5 cm)

ISBN

978-1-4744-2633-6

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Description de l'ouvrage:
Examines the unique cultural and critical history of international naturalist cinema
• Uses intertextual analysis, incorporating historical, scientific, artistic, literary, and film studies and theories, to develop an ongoing naturalist film narrative praxis
• Has a comprehensive focus on industrial practices and popular film genre and movements from a new aesthetic-critical perspective
• Incorporates of a wide range of international film titles, covering the silent to the contemporary era in production history

Beyond 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.

À propos de l'auteur :
Robert Singer, Professor of Liberal Studies, CUNY Graduate Center [ret]. He received a Ph.D. from New York University in Comparative Literature. His areas of expertise include literary and film interrelations, interdisciplinary research in film history and aesthetics, and comparative studies. He is the ReFocus: American and International Film series co-editor for Edinburgh University Press. He has written and directed several independent short films and co-produced the animated film, Ulalume (2022). Among his more recent publications are Consuming Images: Film Art and the Television Commercial (EUP, 2020), co-authored with Gary Rhodes, and “A View from the Boardwalk: The W.P.A. New York City Guide and Coney Island Hypertext,” in Rewriting America: New Essays on the Federal Writers’ Project, ed. Sara Rutkowski, (2022).

Revue de Presse:
"Robert Singer’s Beyond Realism: Naturalist Film in Theory and Practice is a comprehensive guide to naturalistic film; Singer has been the leading global expert on this topic for many years. His book is a life’s work. He is able to move from the dark corners and sharp bright angles of early film to similar naturalist concerns in cinema today: social struggle, poverty, homelessness, violence, injustice, the naturalistic body, psychological conflicts, and many other features. It’s an erudite but engaging read and a must for any naturalist or film student."
– Jeanne Campbell Reesman, Professor Emerita, University of Texas at San Antonio

Beyond Realism: Naturalist Film in Theory and Practice is a treatise on naturalist themes and the moving image, a platform of continuous intertextual references. With this book, Singer takes us on a fascinating (inter)national journey of theories, genres and themes dedicated to the naturalist film, while also presenting a renewed vision of ourselves and our bodies as spectacles.
– José Duarte, Film Studies Professor at the School of Arts and Humanities, ULisboa.

Robert Singer’s Beyond Realism: Naturalist Film in Theory and Practice is a breathtakingly comprehensive and insightful investigation of naturalist themes in film. From Lumière actualités to the latest examples of international cinema, each chapter focuses on a separate facet of "naturalism’s grinding tradition" and its themes of violence, degradation, disease, and the tension between the human spirit and naturalism’s relentless assault on the body.
– Professor Donna M. Campbell, author of Bitter Tastes: Literary Naturalism and Early Cinema in American Women’s Writing

Both a radical and fundamentally joyous celebration of Naturalist cinema, Singer here transcends the orthodox dominance of Realism on cinema discourse and painstakingly presents another way of thinking about the relationship of our world to the one we see on screen.– Alexandra Heller-Nicholas, Film International

Voir le site internet de l'éditeur Edinburgh University Press

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