{"title":"1. The Death of (a) Cinema","authors":"","doi":"10.1515/9789048539215-004","DOIUrl":"https://doi.org/10.1515/9789048539215-004","url":null,"abstract":"","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133405187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Index","authors":"","doi":"10.1515/9789048539215-015","DOIUrl":"https://doi.org/10.1515/9789048539215-015","url":null,"abstract":"","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124321526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Geidōmono Genre and Intermedial Acting in Ozu and Mizoguchi","authors":"L. Nagib","doi":"10.5117/9789462987517_CH05","DOIUrl":"https://doi.org/10.5117/9789462987517_CH05","url":null,"abstract":"Chapter 5 revisits the work of two cinematic giants, Kenji Mizoguchi\u0000 and Yasujirō Ozu, and their recourse to theatre in The Story of the Last\u0000 Chrysanthemums (Zangiku monogatari, 1939) and Floating Weeds (Ukigusa,\u0000 1959) respectively. In them, the mediums of theatre and film are scrutinised\u0000 through the self-reflexive genre of geidōmono, encompassing films in\u0000 which the protagonist is a practitioner of one of the traditional Japanese\u0000 arts. Here, theatre serves both the Mizoguchi and the Ozu films to break\u0000 down the system at the base of the mediums of theatre and film into their\u0000 constitutive parts, provide evidence of their reality, and propose a fairer\u0000 arrangement of them, in particular as regards the ruthless hierarchy\u0000 embedded in both mediums.","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127590214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Death of (a) Cinema","authors":"L. Nagib","doi":"10.5117/9789462987517_CH01","DOIUrl":"https://doi.org/10.5117/9789462987517_CH01","url":null,"abstract":"Chapter 1 focuses on Wim Wenders’s 1982 The State of Things, a watershed\u0000 film that distils, in programmatic fashion, the idea of cinema’s inherent\u0000 but unachievable mission to become material reality. The film is located\u0000 at a significant historical juncture, which marks, on the one hand, the\u0000 end of the European new waves and new cinemas, and, on the other,\u0000 Hollywood’s move into a self-styled postmodern era, dominated by selfreflexive\u0000 remakes. More pointedly, it attempts to theorise, in form and\u0000 content, this cinematic end of history by means of a mise-en-abyme\u0000 construction evolving across multiple layers of self-referentiality and\u0000 self-negation, that exposes it to the contingencies of the local environment\u0000 and improvisations of the characters/actors.","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127764863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jafar Panahi’s Forbidden Tetralogy","authors":"L. Nagib","doi":"10.2307/j.ctv1b0fvq4.7","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvq4.7","url":null,"abstract":"Chapter 2 brings a reflection on Jafar Panahi’s forbidden tetralogy, This\u0000 Is Not a Film (co-directed by Mojtaba Mirtahmasb, 2011), Closed Curtain\u0000 (Pardeh, co-directed by Kambuzia Partovi, 2013), Taxi Tehran (Taxi, 2015)\u0000 and Three Faces (Se rokh, 2018), all of which have come into being despite\u0000 (or as a result of) the 20-year ban from making films imposed on him\u0000 by the Iranian authorities. Forcibly shot in enclosed spaces, these films\u0000 are marked by a relentless scrutiny of their restrained locations and of\u0000 the director himself, turned into reluctant protagonist of his non-films.\u0000 In such restrictive circumstances, Panahi’s irrepressible creative vein\u0000 is channelled towards bringing to the fore, with radical realism, film’s\u0000 inherent conundrum between its recording and artistic properties.","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117119632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Reality of Art","authors":"L. Nagib","doi":"10.2307/j.ctv1b0fvq4.13","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvq4.13","url":null,"abstract":"Chapter 8 is a study of Ossessione (Luchino Visconti, 1943), a film universally\u0000 recognised as a masterpiece and foundational work of Italian\u0000 neorealism, which has inspired new realist film currents and independent\u0000 productions around the globe. Accordingly, it has been scrutinised from\u0000 a variety of angles by successive generations of scholars. Yet, as is the\u0000 case with any masterpiece of this magnitude, the possibilities of novel\u0000 approaches to it are inexhaustible. In this chapter, I revisit the crucial topic\u0000 of realism in Ossessione through a perspective hitherto underexplored\u0000 in scholarship on the film, namely the contribution of opera and music\u0000 to its realist endeavour. Under this light, Ossessione changes into an accomplished\u0000 example of the aspiration to the total artwork.","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130973985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Intermedial History-Telling","authors":"L. Nagib","doi":"10.2307/j.ctv1b0fvq4.11","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvq4.11","url":null,"abstract":"Chapter 6 is an analysis of Raúl Ruiz’s 2011 Mysteries of Lisbon, a monumental\u0000 adaptation of Camilo Castelo Branco’s eponymous novel, in\u0000 which interconnected narrative strands multiply wide and deep across\u0000 generations. Whilst questioning the medium and its hierarchical position\u0000 among other media, the film also brings storytelling close to reality and\u0000 history-telling by creating holes in the narrative mesh through which the\u0000 spectator can catch a glimpse of the incompleteness and incoherence of\u0000 real life. In this context, the film’s constant intermedial morphings become\u0000 ‘passages’ to the real, through which drawings, paintings, sculptures and\u0000 murals change into live action and vice versa, silently subverting the idea\u0000 that the story could have one single end, or an end at all.","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125475017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Total Cinema as Mode of Production","authors":"L. Nagib","doi":"10.2307/j.ctv1b0fvq4.15","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvq4.15","url":null,"abstract":"Chapter 10 examines Bazin’s ‘myth of total cinema’ in light of a major trend\u0000 in recent world cinema to focus on monumental landscapes, in films by\u0000 Byambsuren Davaa and Luigi Falorni (The Story of the Weeping Camel/\u0000 Ingen nulims, 2003), Abderrahmane Sissako (Timbuktu, 2014), Mikhail\u0000 Zvyagintsev (Leviathan/Leviafan, 2014), Nuri Bilge Ceylan (Winter Sleep/\u0000 Kış uykusu, 2014), Cristina Gallego and Ciro Guerra (Birds of Passage/\u0000 Pájaros de verano, 2018), and Kleber Mendonça Filho and Juliano Dornelles\u0000 (Bacurau, 2019). Taken together, these films testify to the remarkable\u0000 convergence among filmmakers from the most disparate corners of the\u0000 globe in resorting to expansive landscapes as a totalising cosmos and a\u0000 sealed-off stage for the drama of existence, where realism manifests itself\u0000 by means of real locations.","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131423109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"5. The Geidōmono Genre and Intermedial Acting in Ozu and Mizoguchi","authors":"Mizoguchi","doi":"10.1515/9789048539215-008","DOIUrl":"https://doi.org/10.1515/9789048539215-008","url":null,"abstract":"Chapter 5 revisits the work of two cinematic giants, Kenji Mizoguchi and Yasujirō Ozu, and their recourse to theatre in The Story of the Last Chrysanthemums (Zangiku monogatari, 1939) and Floating Weeds (Ukigusa, 1959) respectively. In them, the mediums of theatre and film are scrutinised through the self-ref lexive genre of geidōmono, encompassing f ilms in which the protagonist is a practitioner of one of the traditional Japanese arts. Here, theatre serves both the Mizoguchi and the Ozu f ilms to break down the system at the base of the mediums of theatre and f ilm into their constitutive parts, provide evidence of their reality, and propose a fairer arrangement of them, in particular as regards the ruthless hierarchy embedded in both mediums.","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114666187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"List of Illustrations","authors":"","doi":"10.2307/j.ctv1b0fvq4.3","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fvq4.3","url":null,"abstract":"","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121943859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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