The Real Of Reality The Realist Turn In Contemporary Film Theory

Reality has become an increasingly prominent topic in contemporary philosophy. The book’s contributors are responding to the challenge to use the philosophically underexplored potential of film to disclose what the editors propose to call “the real of reality.”

This book develops the so-called “solaristic ontology” of film by building a philosophical system based on an inquiry into the nature of film, being and reality. This “solaristic system” appropriates the aesthetic ideas and principles of thought present in the 1972 sci-fi movie Solaris by Andrei Tarkovsky. This movie is the main center of analysis here since it is highly symptomatic of the medium’s philosophical self-reflexivity and its intriguing correlation with reality and being. The “solaristic science” is a fictional science introduced in the movie’s diegesis and dedicated to the investigation of the planet Solaris, an unattainable challenge. In this sense, the solaristic system closes the film’s narrative by telling a philosophical story on the planet Solaris. The book thus details a philosophical form of concept art, and, at the same time, builds on previous results of film philosophy, as well as the speculative turn in contemporary philosophy.

Film and Phenomenology presents a new approach to the question of cinematic representation, which runs contrary to the course of contemporary film theory.Film and Phenomenology presents a new approach to the question of cinematic representation which runs contrary to the course of contemporary film theory.

During the twentieth century, the medium of film has developed as a means of understanding the complexity of modern life. Since 1968, film theory has concentrated not so much on theme or content but on the deeper question of how the medium works on its viewer. Film theory has been profoundly influenced by the writings of such modern thinkers as Saussure, Freud, Lacan, Anthusser, Derrida and Kristeva. It combines modes of textual analysis relating to linguistics and semiology, a Marxist reading of ideology, and theories of subjectivity, the spectator and gender redefined by psychoanalysis. This judicious selection from key work by Stephen Heath, Fredric Jameson, Laura Mulvey, Mary Ann Doanne and others, represents some of the most important contemporary writing about film. It provides a consistent and developing analysis that will be of interest to students concerned with film and film studies, as well as students of cultural, media and communication studies.

Over the last few decades, film has increasingly become an issue of philosophical reflection from an ontological and epistemological perspective, and the claim “doing philosophy through film” has raised extensive discussion about its meaning. The mechanical reproduction of reality is one of the most prominent philosophical questions raised by the emergence of film at the end of the nineteenth century, inquiring into the ontological nature of both reality and film. Yet the nature of this audio-photographic and moving reproduction of reality constitutes an ontological puzzle, which has widely been disregarded as a main line of enquiry with direct consequences for philosophy. Regarding this background, this volume brings together the best papers from the Lisbon Conference on Philosophy and Film: Thinking Reality and Time through Film, held in 2014. What they all have in common is the discussion of new aspects and approaches of how philosophy relates to film. Whether by philosophizing through concrete examples of films or whether looking at film’s ontological reliance on time and image, or its intra-active entanglement with reality or truth, this book explores grasp film’s nature philosophically, and provides new insights for the film philosopher and the filmmaker, as well as for the freshman fascinated by film for philosophical reasons.

From Ancient philosophy to contemporary theories of fiction, it is a common practice to relegate illusory appearances to the realm of the non-existent, like shadows on the wall of Plato’s cave. Contrary to this traditional mode of drawing a metaphysical distinction between reality and fiction, Markus Gabriel argues that the realm of the illusory, fictional, imaginary, and conceptually indeterminate is as real as it gets. Being in touch with reality need not and cannot require that we overcome appearances in order to grasp a meaningless reality which exists ‘out there,’ outside and maybe even beyond our minds. Human mindedness (Geist) exists in the mode of fictions through which we achieve self-consciousness. This novel approach provides a fresh perspective on our existence as subjects who lead their lives in the light of self-conceptions. Fictions also develops a social ontology according to which the social unfolds as a constant renegotiation of dissent, of different points of view onto the same reality. Thus, we cannot ever hope to ground human society in a fiction-free realm of objective transactions. However, this does not mean that truth and reality are somehow outdated concepts. On the contrary, we need to enlarge our conception of reality so that it fully encompasses ourselves as specifically minded social animals. This major new work of philosophy will be of interest to students and scholars throughout the humanities and to anyone interested in contemporary philosophy and social thought.

This book suggests ways forward for a new series of studies in cinematic realism, and for a new form of film theory based on realism, stressing the importance of the question of realism, both in film studies and in contemporary life.

The 2002 theme of 'Northern Lights' is dedicated to the representation of reality in film, TV and new media -- a question of new importance in modern film and media, where a new wave of realism has dominated cinema and reality -- TV became a mass phenomena on both TV and the internet. Eleven articles by Danish, British, and American film and media researchers focus on two sub-themes: 'Film and Realism' deals theoretically with film realism and analyses classic films and modern Danish Dogma films; 'Documentary Forms, Reality TV and New Media' treats new forms of non-fiction film, TV and on the internet in a both theoretical and historical perspective.