
Published online:
18 January 2018
Published in print:
01 June 2016
Online ISBN:
9781474421959
Print ISBN:
9781474402217
Contents
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I Attitudes Towards the Major Realist Film Theorists I Attitudes Towards the Major Realist Film Theorists
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II The Writings of the Major Realist Film Theorists II The Writings of the Major Realist Film Theorists
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III A Provisional Philosophical Justification for Realism III A Provisional Philosophical Justification for Realism
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IV Intuitionist Realism: An Aesthetic Summary IV Intuitionist Realism: An Aesthetic Summary
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V The Major Realist Film Theories: Intuitionism and Particularity V The Major Realist Film Theories: Intuitionism and Particularity
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VI The Major Realist Film Theories and Intuitionism: A Brief Overview VI The Major Realist Film Theories and Intuitionism: A Brief Overview
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VII Classical Realist Film Theory and the Role of Particularity in Empirical Experience and Representation VII Classical Realist Film Theory and the Role of Particularity in Empirical Experience and Representation
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Kant, Husserl – Kracauer Kant, Husserl – Kracauer
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German tradition – Lukács German tradition – Lukács
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Bergson – Bazin Bergson – Bazin
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Bradley – Grierson Bradley – Grierson
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Conclusions Conclusions
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Classical realist film theory: an intellectual reconstruction Classical realist film theory: an intellectual reconstruction
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Phenomenalist–realist film theory and the consequences for film Phenomenalist–realist film theory and the consequences for film
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Phenomenalist–realist film theory and the consequences for the film spectator Phenomenalist–realist film theory and the consequences for the film spectator
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Note Note
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References References
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Cite
Aitken, Ian (ed.), 'Introduction', in Ian Aitken (ed.), The Major Realist Film Theorists: A Critical Anthology (Edinburgh , 2016; online edn, Edinburgh Scholarship Online, 18 Jan. 2018), https://doi.org/10.3366/edinburgh/9781474402217.003.0001, accessed 5 May 2025.
Abstract
This 18,000 word introduction outlines the writings of the four major realist film theorists, before exploring the issue of realist representation, and cinematic realism. The introduction then attempts to develop a coherent model of cinematic realism from the ideas of the major realist film theorists, and from other theorists and philosophers who influenced those ideas. Finally, the introduction concludes by exploring ways forward in future studies of cinematic realism.
Subject
Film
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