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Film --- Brazil --- Motion pictures --- Brazil in motion pictures --- Utopias in motion pictures. --- Cinéma --- Brésil au cinéma --- Utopies au cinéma

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This book presents the bold and original proposal to replace the general appellation of 'world cinema' with the more substantive concept of 'realist cinema'. Veering away from the usual focus on modes of reception and spectatorship, it locates instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: 'non-cinema', or a cinema that aspires to be life itself; 'intermedial passages', or films that incorporate other artforms as a channel to historical and political reality; and 'total cinema', or films moved by a totalising impulse, be it towards the total artwork, total history or universalising landscapes. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, proving that realism is timeless and inherent in cinema from its origin.

PERFORMING ARTS / Film & Video / History & Criticism. --- Cinematic Authorship. --- Cinematic Realism. --- Intermediality. --- National Cinemas. --- World Cinema.

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"This book charts the ways in which intermediality - the crossing of borders between film and other arts and media - can provide an encompassing, inclusive and non-teleological understanding of film history. Moving across diverse approaches, technologies, national contexts and artistic styles, the collection depicts a clear as much as complex trajectory of cinematic phenomena according to the medial and artistic interactions they require and produce. Visions of the 'evolution' of cinema have traditionally hinged on the axis of World War II that separates so-called 'classical' Hollywood cinema from a purported 'modern' European-style production, a scheme that subjects the entire world to the cinematic history of two hegemonic centres. In turn, histories of film as a technological medium have focused on the specificity of cinema as it gradually separated from the other art and medial forms at its base - theatre, dance, fairground spectacle, painting, literature, still photography and other pre-cinematic modes. Taking an ambitious step forward with relation to these theories, this book places its bet on the fluid quality of the film form itself. In so doing, it opens up to an array of exciting and often neglected artistic expressions worldwide as they permeate and interconnect films across temporal, geographical and cultural borders. By observing the ebb and flow of film's contours within the bounds of other artistic and medial expressions, this collection aspires to establish a flexible historical platform for the moving form of film, posited, from production to consumption, as a transforming and transformative medium"--

Motion pictures --- Historicism --- Intermediality

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