Cinema, JeanLuc Godard once remarked, is truth twenty-four times a second. In the main, classical theories of these media defined them by their ability to automatically, even necessarily, provide a truthful image of what was in front of the camera at the moment the shutter clicked. The advance in digital technologies of image production and manipulation has seriously challenged traditional views about photography and film. The movement is valuable only insofar as it brings increased meaning (itself an abstraction) to what is created. Given the fact that this movement toward the real can take a thousand different routes, the apologia for “realism” per se, strictly speaking, means nothing at all. Rethinking Bazin: Ontology and Realist Aesthetics Daniel Morgan The word “realism” as it is commonly used does not have an absolute and clear meaning, so much as it indicates a certain tendency toward the faithful rendering of reality on film.
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