Reality transformed : film as meaning and technique / Irving Singer.

By: Singer, Irving [author]
Language: English Publisher: Cambridge, Massachusetts : MIT Press, ©1998Description: xiv, 216 pages ; 24 cmContent type: text Media type: unmediated Carrier type: volumeISBN: 0262194031 (hc. : alk. paper); 9780262194037 ; 0262692481 ; 9780262692489; 0585003165 ; 9780585003160Subject(s): Film criticism -- PhilosophyDDC classification: 791.4301 LOC classification: PN1995 | .S513 1998
Contents:
Introduction: Realism vs. Formalism -- Appearance and Reality -- The Purple Rose of Cairo -- The Visual and the Literary -- Death in Venice -- Communication and Alienation -- The Rules of the Game -- Conclusion: Cinematic Transformation.
Summary: In Reality Transformed Irving Singer offers a new approach to the philosophy of film. Returning to the classical debate between realists and formalists, he shows how the opposing positions may be harmonized and united. He accepts the realist claim that films somehow "capture" reality, but agrees with the formalist belief that they transform it. Extending his earlier work on meaning in art and life, he suggests that the meaningfulness of movies derives from techniques that re-create reality in the process of presenting it to viewers who have learned how to appreciate the aesthetics of cinematic transformation.
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SUBJECT REFERENCE 		791.4301 Si641 1998 (Browse shelf) Available CITU-CL-42549
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Includes index

Includes bibliographical references (p. [201]-210)

Introduction: Realism vs. Formalism --
Appearance and Reality --
The Purple Rose of Cairo --
The Visual and the Literary --
Death in Venice --
Communication and Alienation --
The Rules of the Game --
Conclusion: Cinematic Transformation.

In Reality Transformed Irving Singer offers a new approach to the philosophy of film. Returning to the classical debate between realists and formalists, he shows how the opposing positions may be harmonized and united. He accepts the realist claim that films somehow "capture" reality, but agrees with the formalist belief that they transform it. Extending his earlier work on meaning in art and life, he suggests that the meaningfulness of movies derives from techniques that re-create reality in the process of presenting it to viewers who have learned how to appreciate the aesthetics of cinematic transformation.

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