| Description |
1 online resource (286 pages) |
| Contents |
Introduction : The filmed century. Before (and beyond) art and entertainment ; The reality effect ; Reality bites back : kernal truths ; From cinema verité to reality TV ; Mediating reality : Wag the dog to War games ; The graphic imperative -- Part one : Film culture -- Pornographic science. Missing scenes : Coover's Casablanca ; Intrusive scenes : Scorsese's marriage manual ; Freezing the scene : Pynchon's prehistory of film ; Your car's mind -- Primal scenes. Questioning the women ; Films without film ; Infantilizing the viewer ; Hard-core Freud ; The reality of fantasy ; De Palma's wolf man -- Body parts. Multiple images and desplaced desire ; Split persons and body doubles ; Shower show : Dressed to kill to Body double ; The erotics of subsitution : Vertigo to Body double ; Vamps and vampires ; Conjugal adultery and movie children -- Part two : Filmic events -- Documenting violence. Serial violence/surveillance ; The year of filming dangerously ; Hidden figures : the assassination scene from Antonioni to Zapruder ; Surprise executions ; Films that kill -- Telling stories. "I want you to see with my eyes" ; Screening the Holocaust ; Screening Hollywood ; The death of the mind -- Showing the obscene. Time and the unthinkable ; Releasing the unreleasable ; Stealing childhood : Lolita and JonBenét ; Death imitates art : Crash and Princess Diana ; Wagging the dog : sex, lies, and the Clinton videotapes -- Part three : Film dreams -- From dream work to DreamWorks. Unreal estate : fake towns, real people ; Ants wars ; Back to the future : movies, the ride ; From the moon to mars : 2001 then and now ; The color of dreams ; Back to the drawing board : movies, the game ; Dream worlds -- Afterword on the afterlife |
| Summary |
It used to be only movies were on film; now the whole world is. The most intimate and most banal moments of our lives are constantly recorded for public consumption. In The Reality Effect, Joel Black argues that the desire to make visible every aspect of our lives is an impulse derived from cinema--one that has made life both more graphic and less "real." He approaches film as a documentary medium that has obscured--if not obliterated--the line between reality and fiction. To illustrate this effect, Black traces the uncanny interplay between movies and real-life events through a series of comparative analyses--from Lolita and the murder of JonBenét Ramsey to Wag the Dog and the Clinton scandal to Crash and Princess Diana's violent death [Publisher description] |
| Bibliography |
Includes bibliographical references and indexes |
| Notes |
Print version record |
| Subject |
Realism in motion pictures.
|
|
PERFORMING ARTS -- Reference.
|
|
Realism in motion pictures
|
|
Realismus
|
|
Film
|
|
Werkelijkheid.
|
|
Filmkunst.
|
|
Réalisme (cinéma)
|
|
Film.
|
|
USA
|
|
USA.
|
| Form |
Electronic book
|
| ISBN |
9781135354329 |
|
1135354324 |
|
9780203953082 |
|
0203953088 |
|
