Abstract

The article talks about Lukács debate about cinema. For this author, the film is the fruit of a class of reflection that duplicates mimesis. It is methodologically chosen for a theoretical-bibliographic study in which an immanent reading of the hungarian Aesthetics is performed. Under these guidelines, the communication discussion the main points by which Lukács raises his understanding on the cinematographic art: 1) relation with the development of the technique; 2) cinematographic authenticity; 3) tendency to minimize undetermined objectivity: lability and elasticity; 4) psychic atmosphere; 5) cinematic language. The exhibition understands that cinema, although born as a product of developed capitalism, holds the contradiction of having a high level of realism, while at the same time it can travel the most narrow bourgeois ideologies.

Highlights

  • The article talks about Lukács debate about cinema

  • The film is the fruit of a class of reflection that duplicates mimesis

  • It is methodologically chosen for a theoretical­bibliographic study in which an immanent reading of the hungarian Aesthetics is performed

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Summary

Introduction

The article talks about Lukács debate about cinema. For this author, the film is the fruit of a class of reflection that duplicates mimesis. 91), “[...] significa, pois, uma tendência a uma vida dada, tanto quanto possível, de modo imediatamente transparente e panorâmico, uma exigência sempre presente para o homem do cotidiano em relação ao seu entorno.” Estando claro o que o autor entende por proximidade entre o filme e a vida, vejamos, por intermédio da exemplificação do cinema mudo, como o filósofo ilustra sua tese de que o reflexo fílmico produz a tendência à minimização da objetividade indeterminada.

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