By Malcolm Turvey

The movie theories of Jean Epstein, Dziga Vertov, Bela Balazs, and Siegfried Kracauer have lengthy been studied individually from one another. In Doubting Vision, movie student Malcolm Turvey argues that their paintings constitutes a unique, hitherto overlooked culture, which he calls revelationism, and which differs in vital methods from modernism and realism. For those 4 theorists and filmmakers, the cinema is an paintings of mass enlightenment since it escapes the bounds of human sight and divulges the real nature of truth. Turvey offers a close exegesis of this custom, pointing to its resources in Romanticism, the philosophy of Henri Bergson, sleek technological know-how, and different highbrow currents. He additionally exhibits how profoundly it has motivated modern movie concept by means of analyzing the paintings of psychoanalytical-semiotic theorists of the Nineteen Seventies, Stanley Cavell, the modern day fans of Kracauer and Walter Benjamin, and Gilles Deleuze.

Throughout, Turvey bargains a trenchant critique of revelationism and its descendants. Combining the shut research of theoretical texts with the philosophical approach to conceptual explanation pioneered via the later Wittgenstein, he exhibits how the arguments theorists and filmmakers have made approximately human imaginative and prescient and the cinema's revelatory powers frequently site visitors in conceptual confusion. Having pointed out and extricated those confusions, Turvey builds at the paintings of Epstein, Vertov, Balazs, and Kracauer in addition to modern philosophers of movie to elucidate a few valid senses within which the cinema is a revelatory paintings utilizing examples from the flicks of filmmakers similar to Alfred Hitchcock and Jacques Tati.

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Doubting Vision: Film and the Revelationist Tradition by Malcolm Turvey


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