Beyond Realism: Naturalist Film in Theory and Practice

Robert Singer

Beyond Realism: Naturalist Film in Theory and Practice is the first major critical study of international naturalist cinema.

Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. 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. The naturalist film is predicated on two foundational, intersecting paradigms that configure as one ideological system in an overarching scientific and social experimental narrative. Either the scientific or social paradigm may be dominant in the film narrative or they may simply co-exist, but a naturalist film reveals both templates and, most significantly, suggests an implicit cinematic anthropology that renders the body as an observed spectacle.

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Beyond Realism

Naturalist Film in Theory and Practice

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Contents

Frontmatter
pp i-iv

Contents
pp v-vii

Figures
pp viii-viii

Acknowledgments
pp ix-x

1 - Introduction
pp 1-12

2. - Naturalist Tropes
pp 13-42

3. - Operative Spaces
pp 43-78

4. - The Body Politic
pp 79-105

5. - Fleshy Imagery
pp 106-137

6. - Darwinian Disconnetion
pp 138-179

7. - Moreau Narratives
pp 177-210

8. - Naturalist Comedy
pp 211-227

9. - A Joker's World
pp 228-254

Index
pp 255-267

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Naturalist Film in Theory and Practice

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