The Real and The Rear-View Mirror. Modes, realist and fantastic: definitions Realism and the real Modes and technology Undermining modal oppositions. Genres and modes… Genres: discursive categories involving narrative conventions, iconography etc.
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The Rear-View Mirror
“Realism is a difficult word, not only because of the intricacy of the disputes in art and philosophy to which its predominant uses refer, but also because the two words on which it seems to depend, real and reality, have a very complicated linguistic history.”
- from Keywords (Williams, 1988)
“Documentaries…do not differ from fictions in their constructedness as texts, but in the representations they make. At the heart of documentary is less a story and its imaginary world than an argument about the historical world.” (Nichols, 2001: p.111)
John Ellis, Visible Fictions, pp.6-7:
“In essence, realism is a regime of unified portrayal: every criterion of realism aims at the same objective, to combine all the elements of the representation at any one point into a harmonious whole. This prevents the reading of the image, scanning it to see its different elements and their possible conflicts or combinations, which is a central feature of modernist tendencies in the other visual arts.”
(Remember narrative session, Elephant: transparency vs foregounding, closure vs aperture etc.)
- A way of describing our relationship with new technology. We define the new through its resonance with the familiar
- We still talk about ‘dialling’ phone numbers
- The ‘file’ icons on computer desktops
- The term ‘desktop’
- “Global village”?