Exploring the concept of filmic reality, this book presents a fresh perspective on our connection with cinema. It challenges traditional views that focus on cinema's ability to reflect or represent reality, instead emphasizing the unique realities that film can construct. This approach invites readers to reconsider how they perceive and engage with cinematic experiences, highlighting the creative potential of film beyond mere representation.
Focusing on nine influential European directors from the 1950s onward, this work delves into their cinematic portrayals of romantic love and marriage. It explores how these filmmakers reflect societal attitudes towards relationships, offering insights into the evolution of love in modern European cinema. Through a critical analysis of their films, the book highlights the unique narratives and thematic depth surrounding love and commitment in various cultural contexts.
In formulating a notion of filmic reality, The Reality of Film offers a novel way of understanding our relationship to cinema. It argues that cinema need not be understood in terms of its capacities to refer to, reproduce or represent reality, but should be understood in terms of the kinds of realities it has the ability to create. -- .
Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze's writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls's classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.