Abstract Late in his career, filmmaker and theorist Roger Leenhardt (1903–1985) published two enigmatic statements that suggest that he was increasingly sceptical of the idea, which he himself had defended in the 1930s, that film’s realist potential depended on the medium’s photochemical capacity to create faithful imprints of reality. In previously unexamined passages from his essay ‘Cinéma et les arts plastiques’ (1964) and his interview-based memoir Les Yeux ouverts (1979), he argued that animated shorts, along with the film sur l’art, were opening onto new vistas of exploration in realist aesthetics. This article addresses the conditions that led to, and the implications of, this seemingly paradoxical ‘lost development’ in French realist thought. By situating Leenhardt’s late theory in its proper context, namely his brief collaboration with painter Robert Lapoujade on the abstract animation Trois portraits d’un oiseau qui n’existe pas (Robert Lapoujade, 1963), we not only uncover the theory’s social and conceptual roots, but discover a fresh approach to a paradox that continues to grip film theorists: whether cinema can continue to be a means for making discoveries about reality in an age where new media grants filmmakers the power to manipulate every aspect of the image.

中文翻译：

---

现实主义的新视野：罗杰·莱恩哈特（Roger Leenhardt）在Trois肖像画《不存在的鸟》 /《三只不存在的鸟的肖像》之后的理论转变（Robert Lapoujade，1963）

摘要电影制片人和理论家罗杰·莱恩哈特（Roger Leenhardt，1903-1985年）在其职业生涯后期发表了两篇神秘的声明，表明他对这一想法（他本人在1930年代捍卫了这一观点）持越来越怀疑的态度，即电影的现实主义潜力取决于介质的光化学能力。创造真实的现实烙印。在他的论文《电影与塑料艺术》（1964年）和基于访谈的回忆录《 Les Yeux ouverts》（1979年）的未经审查的段落中，他认为动画短片以及电影《艺术》正在崭露头角。现实主义美学探索。本文讨论了导致法国现实主义思想中这种看似矛盾的“迷失发展”的条件及其含义。通过将伦哈特的后期理论置于适当的背景下，