Reconsidering Realism in Dogme95:
Most critics point out that Dogme owes a great deal to the history of realist film theory. Justifiably, they credit Bazin as calling for faith in reality rather than image. They also suggest that Dogme springs from a tradition of realism that includes neo-realism and cinéma vérité. Critics list everything from renaissance naturalism, Warhol films, reality shows, to punk aesthetics as proof that Dogme’s goals are nothing new. In order to locate Dogme’s project in relation to realism, I start with an explanation of the major theories thereof. Next, I look at Dogme’s project in comparison to these theorists and to realist projects in general. Finally, I speak to problems raised by critics and consider alternative ways to understand Dogme films.
|Keywords:||Realism, Genre, Cinéma Vérité, Film Theory, Film, Ideology, Jean-luc Comolli, Paul Narboni, Realism, Film Aesthetics, Dogme 95, Lars Von Trier, Kendall Walton, Philosophy of Film|
Assistant Professor, Department of Philosophy, John Jay College, John Jay College—City University of New York, New York City, NY, USA
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