Film
The Illusion of Naturalism
Datos Bibliográficos
| ID | 8917818 |
|---|---|
| Autores | Andrew Sarris (autor de correspondencia) |
| Año | 1968 |
| Volumen | 13 |
| Número | 2 |
| Páginas | 108-112 |
| Fecha de publicación | 1968-01-01 |
| Peer Reviewed | Sí |
| Open Access | Sí |
| Tipo | ARTICLE |
| Revista | The Drama Review TDR (JOURNAL) |
| Identificadores de la revista | ISSN: 0012-5962 • E-ISSN: 2326-2060 |
| Editorial | The MIT Press (PUBLISHER • US) |
| DOI | 10.2307/1144414 |
| OpenAlex | W2797099400 |
| Idioma | EN |
| Citas recibidas | 1 |
Jean-Luc Godard, that paragon of paradox, takes time out in La Chinoise to rewrite film history by challenging traditional notions of what is real and what is not real. Lumière, Godard argues through a mouthpiece character, was no more a pioneering realist than Méliès was a mere magician. Lumière did photograph the reality of trains steaming into a station or of workers filing out of a factory, but these were painterly subjects fashionable with the Impressionists of the late 19th century. By contrast, Méliès may have staged the state visit of a Balkan monarch to France with actors and fake sets, but nonetheless he transformed the cinema into a kind of Brechtian newsreel. Hence, Méliès came closer to reality and modernity through artifice than Lumière did through literal reproduction
Aesthetics · Art · Art history · Character (mathematics · Epistemology · Illusion · Literal (mathematical logic · Literature · Modernity · Movie theater · Naturalism · State (computer science · Cinema and Media Studies · Philosophy · Psychology · Shakespeare, Adaptation, and Literary Criticism · Visual Culture and Art Theory
| Obras citantes distintas | 1 |
|---|---|
| Citas por año | 0,33 |
| Intervalo de citas | 2023 - 2023 (1) |
| Velocidad de citación | historical |
| Altamente citado | No |
| Tipos de cita | Neutras: 1 |