PREFACE CHAPTER I -- STUDYING FILM 1.1 YOUNG ART, OLD CRITICS 1.1.1 MYTH VERSUS HISTORY 1.1.2 CASE STUDY: CHAPLIN AND THE TALKIES 1.2 IN SEARCH OF A METHOD 1.2.1 THE ASEPTIC STUDY OF FILMOLOGY 1.2.2 A SOCIAL STUDY OF FILM 1.3 BAZIN'S MAYONNAISE THEORY CHAPTER II - THE ART OF REALITY 2.1 PARADOX: THE EXISTENCE OF FILM 2.1.1 EDITING PROHIBITED? CGI AND THE DUMMY OF DANGER 2.1.2 AUTHENTICITY: BAZIN'S SHARK AND SCHRÖDINGER'S CAT 2.1.3 THIS IS CINEMA! 2.2 INTEGRAL REALISM: REALITY AND CINEMA 'ULTIMATELY EQUAL' 2.2.1 NO MOMENT SUPRÁME: BAZIN OPPOSES ELLIPSIS (AND PHOTOGÉNIE) 2.2.2 BAZIN ON UMBERTO D: REFORMULATING THE PREGNANT INSTANT 2.2.3 THE ASYMPTOTE OF REALITY: REALITY ? CINEMA 2.3 BAZIN'S WAGER 2.3.1 CALCULATED RISK 2.3.2 LES JEUX SONT FAITS: RIEN NE VA PLUS? CHAPTER III - FILM AND THE OTHER ARTS 3.1 DEBATES ON CONTEMPORARY ART: BAZIN, MARCEL AND PORTMANN 3.1.1 THE INVENTION OF CINEMA IS A MYTH 3.1.2 BRUEGEL CINEMATOGRAPHER 3.1.3 'HOW EVERYTHING TURNS AWAY': ICARUS AS ANTI-WAR STATEMENT 3.2 CINEMA AND PAINTING 3.2.1 TWO REVOLUTIONS ON FILM: GEOGRAPHIC TEMPORALITY 3.3 CASE STUDY: VAN GOGH'S EAR 3.3.1 MYTHIC REALITY BECOMES FLESH 3.3.2 SELF-PORTRAITS WITH BANDAGED EAR: MIRROR AND MASK 3.4 RECREATION: THE LANGUAGE OF FILM CHAPTER IV - A MATTER OF FORM 4.1 FORM + CONTENT 4.1.1 FROM ADVERTISING TO POETRY IN BAZIN 4.1.2 DEPTH, WATER AND THE EVOLUTION OF FORMS 4.1.3 ON FLOATING BODIES: SERGE DANEY AND THE CASE OF LE GRAND BLEU 4.2 PERSPECTIVES ON 3-D 4.2.1 FROM A REALIST PERSPECTIVE: 'THE IMAGINARY IMAGE' 4.2.2 'WILL THIS BE THE TRIUMPH OF THE FAT?' 4.3 BAZIN PUT TO THE TEST: GODARD AND WENDERS 4.3.1 GOODBYE TO LANGUAGE 4.3.2 3D AS REALIST GRAMMAR 4.4 VR: COMPLETE FILM, OR TOTAL CINEMA? EPILOGUE: UNKNOWN ARTS, NEW MEDIA ICARUS IS THE INVENTOR OF FILM BAZIN'S HYPOTHESIS BIBLIOGRAPHY INDEX