flâneur

Realism Is Always Neo-, Sur-, Super-, Hyper-, Frieda Grafe, 1979

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Neorealist films did not seem more realistic because of the masses, the common people, the everyday life. The bourgeois-novel individuals and their psychological analysis are redundant because stories no longer need to be made convincingly plausible. But the old relationship is not merely reversed; the documentary does not gain the upper hand at the expense of the narrative. Rossellini neither relies on the fantastic coincidences of surrealist aesthetics, nor does he leave everything to devices, as cinéma vérité later did. His gaze and that of the camera are combined. A new reality only comes into view through a new way of perceiving.

Seeing With Photographic Devices In the art world, fiction is a somewhat disreputable word. There is the idea that fiction and authenticity are mutually exclusive. As I see it, the word fiction denotes a technique for exposing truth. – Yvonne Rainer What follows started in Vienna. And then joined forces with reflections, experiences and questions that arise again and again in our dealings with new and old films and whose unresolved and contradictory nature is the bread and butter of cinephiles. What part of reality does cinema see – and how? What has changed about our representation since…

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