World Cinema and the Ethics of Realism
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World Cinema and the Ethics of Realism is a highly original study. Traditional views ofcinematic realism usually draw on the so-called classical cinema and its allegiance tonarrative mimesis, but Nagib challenges this, drawing instead on the filmmaker'scommitment to truth and to the film medium's material bond with the real.Starting from the premise that world cinema's creative peaks are governed by an ethicsof realism, Nagib conducts comparative case studies picked from world new waves,such as the Japanese New Wave, the French nouvelle vague, the Cinema Novo, theNew German Cinema, the Russo-Cuban Revolutionary Cinema, the Portuguese selfperformingauteur and the Inuit Indigenous Cinema. Drawing upon Badiou andRancière, World Cinema and the Ethics of Realism revisits and reformulates severalfundamental concepts in film studies, such as illusionism, identification, apparatus,alienation effects, presentation and representation. Its groundbreaking scholarshiptakes film theory in a bold new direction.Table of Contents: List of IllustrationsAcknowledgementsIntroductionPart I - Physical CinemaChapter 1. The End of the OtherPhysical RealismThe Missing OtherAtanarjuat, the Fast RunnerYaabaGod and the Devil in the Land of the Sun (Black God, White Devil)The 400 BlowsChapter 2. The Immaterial Difference: Werner Herzog RevisitedThe Excessive BodyLiteral DifferencePhysical DifferenceRepresentational DifferencePart II - The Reality of the MediumChapter 3. Conceptual Realism in Land in Trance and I Am CubaAllegorical RealReality as Process: Trance in Land in TranceTrance, Sexuality and the Christian Myth in I Am CubaMimesis of the PrincipleConcluding RemarksChapter 4. The Work of Art in Progress: An Analysis of Delicate CrimePart III - The Ethics of DesireChapter 5. The Realm of the Senses, the Ethical Imperative and the Politics of PleasureOriginality, Beauty and the Porn GenreThe Eroticized NationSex in Red and White: Double SuicideAnti-Realism and Artistic RealThe Participative Voyeur and the Eroticized ApparatusPart IV - The Production of RealityChapter 6. Hara and Kobayashi's 'Private Documentaries'Historical TimePhenomenological TimeActive SubjectsChapter 7. The Self-Performing Auteur: Ethics in Joao Cesar MonteiroEthics of the Impossible RealGod's AutobiographyThe History ManBibliographyNotes
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