Joni GutierrezFive characteristics of the phenomenalist-realist film were identified by Ian Aitken in The Major Realist Film Theorists: A Critical Anthology (2016) : (1) perceptually realistic; (2) disinterested; (3) nature-like; (4) feeling-oriented; and (5) flowing. In the current essay, I flesh out each of these attributes by expounding on their philosophical influences – particularly Kantian aesthetics – and explicating them through selected works from world cinema.
Seven tropes from the realist film theory of Siegfried Kracauer are presented in this essay. Selected works from world cinema re used to illustrate the discussion.
This final section presents the summary of the findings and conclusions of the study in three major aspects: (1) a prospective model of cinematic realism that resulted from the project’s phenomenological approach in investigating Kracauerian cinematic-realist film aesthetics; (2) an account of reckoning the Husserlian notion of the Lebenswelt which Aitken (2006) specified to be ‘a key to understanding Kracauer’s assertion that “physical reality” can be redeemed through cinema’ (Wils, 2016, p. 76); and (3) the implications and findings of using film practice and criticism as tools in examining Kracauerian cinematic realism (KCR). Lastly, this section will propose recommendations for further research into the subject using both written and film-based means.
Siegfried Kracauer was ‘as much a social scientist as a film theorist’ (Armstrong, 2007, p. 62). This is evident not just in Theory of Film: The Redemption of Physical Reality (Kracauer, 1960) but also in his (1) articles and reviews as a ‘practical film critic of the Frankfurter Zeitung’ (Petro, 1991, p. 131) of the 1920s and early 1930s; (2) in his book on ‘film sociology’ (Elsaesser, 1987, p. 67), From Caligari to Hitler: A Psychological Study of the German Film (Kracauer, 1947); and (3) in History, The Last Things before the Last (1969).