World Cinema and the Ethics of Realism is a highly original study. Traditional views of cinematic realism usually draw on the so-called classical cinema and its allegiance to narrative mimesis, but Nagib challenges this, drawing instead on the filmmaker's commitment to truth and to the film medium's material bond with the real. Starting from the premise that world cinema's creative peaks are governed by an ethics of realism, Nagib conducts comparative case studies picked from world new waves, such as the Japanese New Wave, the French nouvelle vague, the Cinema Novo, the New German Cinema, the Russo-Cuban Revolutionary Cinema, the Portuguese self-performing auteur and the Inuit Indigenous Cinema. Drawing upon Badiou and Rancière, World Cinema and the Ethics of Realism revisits and reformulates several fundamental concepts in film studies, such as illusionism, identification, apparatus, alienation effects, presentation and representation. Its groundbreaking scholarship takes film theory in a bold new direction.

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.

This collection examines two recent phenomena: the return of realist tendencies and practices in world cinema and television, and the 'rehabilitation' of realism in film and media theory. The contributors investigate these two phenomena in detail, querying their origins, relations, divergences and intersections from a variety of perspectives.

Near to one billion people call slums their home, making it a reasonable claim to describe our world as a 'planet of slums.' But how has this hard and unyielding way of life been depicted on screen? How have filmmakers engaged historically and across the globe with the social conditions of what is often perceived as the world's most miserable habitats?Combining approaches from cultural, globalisation and film studies, Igor Krstic outlines a transnational history of films that either document or fictionalise the favelas, shantytowns, barrios poulares or chawls of our 'planet of slums', exploring the way accelerated urbanisation has intersected with an increasingly interconnected global film culture. From Jacob Riis' How The Other Half Lives (1890) to Danny Boyle's Slumdog Millionaire (2008), the volume provides a number of close readings of films from different historical periods and regions to outline how contemporary film and media practices relate to their past predeccesors, demonstrating the way various filmmakers, both north and south of the equator, have repeatedly grappled with, rejected or continuously modified documentary and realist modes to convey life in our 'planet of slums'.

From the 1910s to the emergence of structuralism and post-structuralism in the 1960s, the writings of John Grierson, Siegfried Kracauer, Andre Bazin and Georg Lukacs dominated realist film theory. In this critical anthology, the first collection to address their work in one volume, a wide range of international scholars explore the interconnections between their ideas and help generate new understandings of this important, if neglected, field. Challenging preconceptions about 'classical' theory and the nature of realist representation, and in the process demonstrating how this body of work can be seen as a cohesive theoretical model, this invaluable collection will help return the realist paradigm of film theory to the forefront of academic enquiry.

This volume explores the Italian contribution to the current global phenomenon of a “return to reality” by examining the country’s rich cultural production in literature and cinema. The focus is particularly on works from the period spanning the Nineties to the present day which offer alternatives to notions of reality as manufactured by the collusion between the neo-liberal state and the media. The book also discusses Italy’s relationship with its own cultural past by investigating how Italian authors deal with the return of the specter of Neorealism as it haunts the modern artistic imagination in this new epoch of crisis. Furthermore, the volume engages in dialogue with previous works of criticism on contemporary Italian realism, while going beyond them in devoting equal attention to cinema and literature. The resulting interactions will aid the reader in understanding how the critical arts respond to the triumph of hyperrealism in the current era of the virtual spectacle as they seek new ways to promote cognitive transformations and foster ethical interventions.

How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: Exploring Ethical Experience through Film addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and philosophy using detailed case studies of cinematic ethics across different genres, styles, and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics.