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050			_bSi617 2000
100	1		_aSinger, Irving _947998
245	1	0	_aReality transformed : _bfilm as meaning and technique / _cIrving Singer
260			_aMassachusetts : _bThe MIT Press, Cambridge, _c2000
300			_a xii, 216 pages : _billustrations ; _c23 cm
520			_aFor the last thirty years film theory has been dominated by "grand theories" that examine motion pictures from a psychoanalytic, semiotic, or Marxist point of view. Few American philosophers have written about the nature and aesthetics of cinema. In Reality Transformed Irving Singer offers a new approach to the philosophy of film. Returning to the classical debate between realists and formalists, he shows how the opposing positions may be harmonized and united. He accepts the realist claim that films somehow "capture" reality, but agrees with the formalist belief that they transform it. Extending his earlier work on meaning in art and life, he suggests that the meaningfulness of movies derives from techniques that re-create reality in the process of presenting it to viewers who have learned how to appreciate the aesthetics of cinematic transformation. Singer concentrates on questions about appearance and reality, the visual and the literary, and the interplay between communication as a goal and alienation as a hazard in films of every sort. In three exemplary chapters, he provides suggestive readings of Woody Allen's The Purple Rose of Cairo, Luchino Visconti's Death in Venice, and Jean Renoir's The Rules of the Game. Reality Transformed will interest the general reader as well as students in all fields related to film studies.
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