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The Eyes Have It explores those rarified screen moments when viewers are confronted by sights that seem at once impossible and present, artificial and stimulating, illusory and definitive. Beginning with a penetrating study of five cornfield sequences-including The Wizard of Oz, Arizona Dream, and Signs-Murray Pomerance journeys through a vast array of cinematic moments, technical methods, and laborious collaborations from the 1930's to the 2000's to show how the viewer's experience of "reality" is put in context, challenged, and willfully engaged. Four meditations deal with "reality effects" from different philosophical and technical angles. "Vivid Rivals" assesses active participation and critical judgment in seeing effects with such works as Defiance, Cloverfield, Knowing, Thelma & Louise, and more. "The Two of Us" considers double placement and doubled experience with such films as The Prestige, Niagara, and A Stolen Life. "Being There" discusses cinematic performance and the problems of believability, highlighting such films as Gran Torino, The Manchurian Candidate, In Harm's Way, and other films. "Fairy Land" explores the art of scenic backing, focusing on the fictional world of Brigadoon, which borrows from both hard-edged realism and evocative landscape painting.

Realism in motion pictures. --- Realism in moving-pictures --- Motion pictures

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"Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polemica de la Revolución, 1951-1962 [Neorealism and Cinema in Cuba: History and Discourse on the First Polemic of the Revolution, 1951-1962] examines the aesthetic history and relations between Cuban film production and Italian Neorealism. The historical framework begins in 1951 before the triumph of the Cuban Revolution and ends in 1962, a year that marks a rupture between Cuban filmmakers and the Italian neorealist aesthetic. The main collaborations happened between Cuban directors Tomás Gutierrez Alea and Julio García Espinosa and Italian neorealist filmmaker Cesare Zavattini. The circumstances that led to the end of the relationship between Zavattini and the Cuban filmmakers are connected to the film El joven rebelde [The Young Rebel], directed by García Espinosa and screened for the first time in 1961. The rupture centered on creative and ideological differences regarding the way in which the protagonist was to be portrayed in the movie. This seemingly minor disagreement had considerably larger repercussions, the end result of which was that García Espinosa and Gutierrez Alea, as well as the rest of the Cuban filmmakers who worked within the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) after 1959, were driven to find their own creative strategies to craft a national film production. However, the Cuban filmmakers would not have found the necessary grammar to rewrite their own revolutionary cinema without the rupture with Zavattini. This new cinematographic language could not have existed without the various pauses and the distances that characterized the Cuban relationship with Neorealism. In other words, the fragmentary interchange between García Espinosa, Gutierrez Alea, and Zavattini created new spaces in which the Cubans could find creative opportunities to express their own cinematic vision"--

Realism in motion pictures. --- Motion pictures --- History --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Realism in moving-pictures --- History and criticism

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This book brings to the surface the lines of experimentation and artistic renewal appearing after the exhaustion of Neorealism, mapping complex areas of interest such as the emergence of ethical concerns, the relationship between ideology and representation, and the role of Italian counter-culture.

film --- filmgeschiedenis --- Italië --- twintigste eeuw --- neorealisme --- 791.43 --- Film --- Italy --- Realism in motion pictures. --- Motion pictures --- Réalisme dans le cinéma --- Cinéma --- History. --- Histoire --- Realism in moving-pictures

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791.43-2 --- Motion pictures --- -Realism in motion pictures --- #SBIB:309H1326 --- Realism in moving-pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- 791.43-2 Speelfilms. Filmdrama's --- Speelfilms. Filmdrama's --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- History and criticism --- Film --- Italy

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Motion pictures --- Realism in motion pictures --- Cinéma --- Réalisme dans le cinéma --- Philosophy --- Philosophie --- 791.43.01 --- #SBIB:309H1328 --- 761 --- Filmologie. Filmtheorie. Esthetica van de film --- Films met een ideologische en spiegelfunctie --- Theorie van het theater - Spel en dramaturgie --- 791.43.01 Filmologie. Filmtheorie. Esthetica van de film --- Cinéma --- Réalisme dans le cinéma --- Realism in moving-pictures --- CDL --- 791.41 --- Theorie van het theater en de film - Spel en dramaturgie --- 761.10 --- Theorie van het theater en de film - Dramaturgie