The first three chapters of this book explore the interaction 1īetween intuitionist and rationalist tendencies within Russian formalism, Weimar cinematic modernism, and the work of Eisenstein, whilst Chapter 4 focuses on French impressionism: the European film movement most clearly identifiable with the intuitionist modernist tradition. As a consequence, this book substitutes a conventionally upheld distinction between modernist and realist film theory and cinema for one between an intuitionist modernist/realist paradigm, and a post-Saussurian one. One of the central concerns of this study is to explore this intuitionist tradition, and to establish its relationship to the post-Saussurian paradigm of film theory and cinema. There are, for example, clear intellectual and stylistic links between modernist movements such as Russian formalism, Weimar cinematic modernism, and French cinematic impressionism, the realist film theories of Grierson, Bazin and Kracauer, and the work of post-war film-makers such as Antonioni, Pialat, Fellini, Reitz and Erice. However, these distinctions are misleading, and, in fact, early intuitionist film culture and later theories and practices of cinematic realism form part of one continuous tradition. Early intuitionist, modernist film culture is often thought of as distinct from later European realist film theory and cinema, and distinctions between ‘realism and anti-realism’, or ‘realism and modernism’, are widely accepted within the field of media studies. Like the body of philosophical thought from which it stems, this intuitionist film culture is also concerned with both the role played by instrumental rationality within contemporary life, and the experience of alienation, or what Max Weber referred to as ‘disenchantment’, which afflicts the subject within modernity. The intuitionist tradition within European film theory and cinema emphasises aesthetic qualities such as irrationalism, intuitive insight, artistic autonomy, and indeterminate expression. The origins of the first of these, the intuitionist modernist and realist tradition, can be located in a philosophical lineage which encompasses German idealist philosophy, romanticism, phenomenology, and the Frankfurt School. This book examines the relationship between the two major traditions which dominate European film theory and cinema.

Post-war Italian and Spanish Realist Cinema The Redemption of Physical Reality: Theories of Realism in Grierson, Kracauer, Bazin and Lukács VIII. From Political Modernism to Postmodernism The World Well Lost: From Structuralism to Relativism Into the Realm of the Wondrous: French Cinematic Impressionism

Aestheticism and Engagement in Weimar Cinematic Modernism and Soviet Montage Cinema Determinism and Symbolism in the Film Theory of Eisenstein Didacticism and Intuition in Russian Formalism and Weimar Film Theory © Ian Aitken, 2001 Edinburgh University Press 22 George Square, Edinburgh Typeset in Monotype Apollo by Koinonia, Bury, and printed and bound in Great Britain by Creative Print and Design, Ebbw Vale, Wales MPG Books Ltd, Bodmin A CIP record for this book is available from the British Library I1167 3 (hardback) I1168 1 (paperback) The right of Ian Aitken to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. Post-war Italian and Spanish Realist Cinema.Įuropean Film Theory and Cinema: A Critical IntroductionĮuropean Film Theory and Cinema A Critical Introduction The Redemption of Physical Reality: Theories of Realism in Grierson, Kracauer, Bazin and Lukács. From Political Modernism to Postmodernism.

The World Well Lost: From Structuralism to Relativism. Into the Realm of the Wondrous: French Cinematic Impressionism. Aestheticism and Engagement in Weimar Cinematic Modernism and Soviet Montage Cinema. Determinism and Symbolism in the Film Theory of Eisenstein. Didacticism and Intuition in Russian Formalism and Weimar Film Theory.

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