Beyond Realism (English, Robert Singer)

Product description Review Beyond Realism: Naturalist Film in Theory and Practice is a treatise on naturalist themes and the moving image, a platform of continuous intertextual references. With this book, Singer takes us on a fascinating (inter)national journey of theories, genres and themes dedicated to the naturalist film, while also presenting a renewed vision of ourselves and our bodies as spectacles.--José Duarte, Film Studies Professor at the School of Arts and Humanities, ULisboa."Robert Singer's Beyond Realism: Naturalist Film in Theory and Practice is a comprehensive guide to naturalistic film; Singer has been the leading global expert on this topic for many years. His book is a life's work. He is able to move from the dark corners and sharp bright angles of early film to similar naturalist concerns in cinema today: social struggle, poverty, homelessness, violence, injustice, the naturalistic body, psychological conflicts, and many other features. It's an erudite but engaging read and a must for any naturalist or film student."--Jeanne Campbell Reesman, Professor Emerita, University of Texas at San AntonioRobert Singer's Beyond Realism: Naturalist Film in Theory and Practice is a breathtakingly comprehensive and insightful investigation of naturalist themes in film. From Lumière actualités to the latest examples of international cinema, each chapter focuses on a separate facet of "naturalism's grinding tradition" and its themes of violence, degradation, disease, and the tension between the human spirit and naturalism's relentless assault on the body.--Professor Donna M. Campbell, author of Bitter Tastes: Literary Naturalism and Early Cinema in American Women's Writing From the Back Cover Beyond Realism: Naturalist Film in Theory and Practice is the first major critical study of international naturalist cinema. From its earliest representation in silent films, such as Walsh's Regeneration (1915) and Eisenstein’s Stachka/Strike (1925), to recent productions, such as Chukwu’s Clemency (2019) and Aronofsky’s The Whale (2022), the naturalist film narrative encompasses the whole of film history, traversing language, movement and genre.Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. It is a way of reading film narratives based on interdisciplinary reconfigurations, indicating what Fredric Jameson refers to as ‘a relational type of thinking.’Robert Singer, Professor of Liberal Studies, CUNY Graduate Center [ret.]. His areas of expertise include literary and film interrelations, interdisciplinary research in film history and aesthetics, and comparative studies. He has written and directed several independent short films and co-produced the animated film, Ulalume (2022). About the Author Robert Singer, Professor of Liberal Studies, CUNY Graduate Center [ret]. He received a Ph.D. from New York University in Comparative Literature. His areas of expertise include literary and film interrelations, interdisciplinary research in film history and aesthetics, and comparative studies. He is the ReFocus: American and International Film series co-editor for Edinburgh University Press. He has written and directed several independent short films and co-produced the animated film, Ulalume (2022). Among his more recent publications are Consuming Images: Film Art and the Television Commercial (EUP, 2020), co-authored with Gary Rhodes, and “A View from the Boardwalk: The W.P.A. New York City Guide and Coney Island Hypertext,” in Rewriting America: New Essays on the Federal Writers’ Project, ed. Sara Rutkowski, (2022). Read more