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On the cusp of the twenty-first century, the notion of art as revelation of reality held sway in film aesthetics and criticism. Where did this seemingly naive belief in the vocation of art originate, what sustained it, and how did it shape the work of filmmakers, as diverse as Jean-Luc Godard, Jean-Marie Straub and Danièle Huillet, and Abbas Kiarostami? These questions launch this book's exploration of the revelationist tradition from the 1950s to the early 2000s, revisiting a formative period in film history - from Italian Neorealism and the Nouvelle Vague to political modernism - and assessing its lasting impact on contemporary cinema. With the passing of its last major figures, Godard and Straub, in 2022, a critical reassessment of this tradition is timely.
Karel Pletinck is a postdoctoral researcher interested in the interconnections between history, philosophy, and the arts, with a focus on post-war Europe. He has published his work in journals such as French Forum, Journal of Aesthetics and Culture, and French Screen Studies.
Acknowledgements, Abbreviations, Note on translations and referencing, Introduction, Part I. Romantic Legacies in French Revelationist Film Criticism (1940s-1950s), Chapter 1. The myth of revelationist poetry, Chapter 2. Towards an incarnationalist realism, Chapter 3. The Romantic paradox in modern cinema, Part II. Revelationist Aesthetics in Modern and Contemporary Cinema (1960s-2000s), Chapter 4. Lyricism at the heart of political modernism, 1967-89, Chapter 5. Between cinema's childhood and demise, 1986-99, Chapter 6. Revelationist poetry in times of need, 1989-2005, Conclusion, Bibliography, Index.
