By formulating a notion of 'filmic reality', The reality of film offers new ways of understanding our relationship with cinema. It argues that cinema does not merely refer to, reproduce or represent reality, but has the capacity to create its own kinds of realities.
Filmic reality is explored through the work of six key film theorists: Andre Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Zizek and Jacques Ranciere. Comprehensive introductions are provided to each of these thinkers, whilst many myths and misconceptions about them are effectively debunked. The notion of filmic reality that emerges from this discussion radically reconfigures our understanding of cinema.
This book is essential reading for film scholars, students and philosophers of film, while it will also appeal to graduate students and specialists in other fields.
Publisher: Manchester University Press
Number of pages: 232
Weight: 272 g
Dimensions: 216 x 138 x 12 mm
... a lucid and careful intervention through the seemingly well-worn but under-scrutinized reality and film debate.
Insisting on cinema's activity, namely its ability to produce beyond its oftlauded mimetic qualities, has arguably never been more relevant.
Many readers will find the strength of The Reality of Film is its accessability.
... argument powerfully convincing and plausible.
... Rushton strives to confront political modernism's confines.
Its impetus and moral is to always (re)consider films anew and to commit to the wonder and awe that cinema can initiate, an affect, we would be wise to remember, mobilized by human imagination. In so doing, Rushton reminds the reader of the work left to be done in film studies, of the new avenues of inquiry wrenched open when cinema's questions are stirred and its potential awoken, its examination incomplete.
'This book is a must-read for those who enjoy both film theory as well as social sciences, as Rushton skilfully balances the two subjects, and it's an interesting read for all film scholars as it provides a fresh perspective into a subject that has been examined by many before him.'
Rachel Wassii, Film Matters 7.2 (2016) -- .