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dc.contributor.authorGamble, D.-
dc.identifier.citationJournal of Philosophical Research, 2016; 41:499-526-
dc.description.abstractAn anti-realist stance prevalent in philosophy of film, probably less familiar to analytical than continental philosophers, raises issues that are philosophically accessible and engaging. While this anti-realist stance can be historically situated many of its constituent ideas remain influential in contemporary milieus. A common claim of anti-realism is that realist art or cinema, in part by virtue of ‘reification', is inherently ‘non-transformative’. Without rigorously refuting all manifestations of the ‘reification thesis’, key assumptions of anti-realism associated with it are challenged in this paper. An aesthetic and a political-ideological anti-realist thesis are identified and critiqued. Kant’s distinction between ‘aesthetic’ and ‘mechanical art’ provides a basis for defending a form of cinematic realism that vindicates its potential transformative power. The Kantian framework provides a reference point for a comparative analysis of Brecht’s and Lukács’ views on anti-realism versus realism as well as for a favourable reconsideration of Andre Bazin’s cinematic realism.-
dc.description.statementofresponsibilityDenise Gamble-
dc.publisherPhilosophy Documentation Center-
dc.rights© Philosophy Documentation Center-
dc.titleCinematic realism revisited: a Kantian perspective-
dc.typeJournal article-
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Philosophy publications

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