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Make-believe : claiming the real in contemporary fiction cinema
Includes abstract.
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| Main Author: | |
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| Other Authors: | |
| Format: | Thesis |
| Language: | English |
| Published: |
Centre for Film and Media Studies
2014
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| _version_ | 1867613619042123776 |
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| access_status_str | Open Access |
| author | Van der Vliet, Emma |
| author2 | Marx, Lesley |
| author_browse | Marx, Lesley Van der Vliet, Emma |
| author_facet | Marx, Lesley Van der Vliet, Emma |
| author_sort | Van der Vliet, Emma |
| collection | Thesis |
| description | Includes abstract. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/8128 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:39:01.449Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2014 |
| publishDateRange | 2014 |
| publishDateSort | 2014 |
| publisher | Centre for Film and Media Studies |
| publisherStr | Centre for Film and Media Studies |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/8128 Make-believe : claiming the real in contemporary fiction cinema Van der Vliet, Emma Marx, Lesley Media Studies Includes abstract. Includes bibliographical references (leaves [212]-226). This thesis examines the ways in which certain contemporary fiction cinema posits its narratives as real. Looking at a broad overview of realist movements through the history of cinema, it draws out the codes and conventions which filmmakers have employed and suggests that realist cinema is typically characterised by its focus on creating a sense of presence and immediacy. It describes how a strand of selfreflexivity can be traced throughout the history of realist cinema and asserts that this tendency has become increasingly predominant in a more sceptical postmodern climate. The study focuses on the interplay between the cinematography and the setting (to create a sense of locatedness and contextual specificity) in Matthieu Kassovitz's La Haine (1995), on Lars Von Trier's quest for a "naked" film stripped of its cosmetic trappings, and his pursuit of the "genuine" moment within that (in The Idiots, 1998), on Mike Leigh's use of improvisation and byplay to encourage a sense of authenticity in performance in Secrets and Lies (1996), and on Richard Linklater's reworking of the romance genre for a postmodern audience in Before Sunrise (1995) and Before Sunset (2004). 2014-10-06T11:25:57Z 2014-10-06T11:25:57Z 2008 Doctoral Thesis Doctoral PhD http://hdl.handle.net/11427/8128 eng application/pdf Centre for Film and Media Studies Faculty of Humanities University of Cape Town |
| spellingShingle | Media Studies Van der Vliet, Emma Make-believe : claiming the real in contemporary fiction cinema |
| thesis_degree_str | Doctoral |
| title | Make-believe : claiming the real in contemporary fiction cinema |
| title_full | Make-believe : claiming the real in contemporary fiction cinema |
| title_fullStr | Make-believe : claiming the real in contemporary fiction cinema |
| title_full_unstemmed | Make-believe : claiming the real in contemporary fiction cinema |
| title_short | Make-believe : claiming the real in contemporary fiction cinema |
| title_sort | make believe claiming the real in contemporary fiction cinema |
| topic | Media Studies |
| url | http://hdl.handle.net/11427/8128 |
| work_keys_str_mv | AT vandervlietemma makebelieveclaimingtherealincontemporaryfictioncinema |