Realism and Film Form

1980 WordsJul 15, 20188 Pages
The Ancient Egyptian Art is regarded as an icon of greatness. More than imposing a culture, it suggests the genuine wish to seek immortality. The mummy complex, as Bazin refers to , constitutes the ground of what is known as “civilization”, and eventually art, and what translates into human’s metaphysical desire to perpetuate existance beyond death. The argument of immortality as a determination for ancient and modern art as well as civilastion is developed by Stephen Cave in his book “Seeking immortality” through four narrative paths, for which he establishes the following starting point: All living things seek to perpetuate themselves into the future, but humans seek to perpetuate themselves forever. This seeking—this will to…show more content…
He defines realism as conveying the essence . He states that “originality in photography lies in its objective character” , side also taken by Kracauer when we argues about film and reality. In “The myth of total cinema”, Bazin asserts that film produces reality with minimum human intervention, and as technology evolves, film will resemble reality with more fidelity and gives the example of sound addition. He talks about two types of films and filmmakers: the ones who believe in reality and the ones who believe in image. Kracauer is on the same side as Bazin: “Films may claim aesthetical vailidity if they build from their basis properties; like photographs, that is, they must record and reveal physical reality” . They are realistic because they picture movement. J L Braudy “Plato creates an apparatus like sound cinema”. “ he anticipates an ambiguity which was to be characteristic of cinema...the impression of reality: with the means used to create it and with the confusion and lack of awareness surrounding its origins from which result the inventions which mark the history of cinema”. “It is the apparatus that creates the illusion and not the degree of fidelity with the real” . Considering cinema a system of conventions, the emulation of reality and the likeliness are an effect, and not a cause. The film was not born with this realistic tendency, but with a
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