Lúcia Nagib opens Realist Cinema as World Cinema with a statement: “[t]his book is about films and filmmakers committed to reality” (p. 15). Realism for Nagib less concerns the Bazinian ontological link between film and referent, but rather deals with how and when such indexicality becomes essential in a film. This approach enables Nagib to study realism as “modes of production” (p. 22) that permeate world cinema regardless of history and geography. Criticizing studies that underscore the materiality of the spectatorial body, Nagib argues for studying realism in terms of how the indexical nature of cinema establishes a relationship with the profilmic. In order to organize her corpus, Nagib structures her book into three sections based on what she identifies as the sub-modalities of the realist mode of production: non-cinema, intermedial passages, and total cinema. Non-cinema, for her, is the “negation of cinema that changes it into a way of living and interfering politically with world phenomena” (p. 24). Intermedial passages refer to the “intermedial procedure that turns other art forms within films into a passage to reality” (p. 24). And the utopian “myth of total cinema” is based upon André Bazin’s human desire for “integral realism” (Bazin, 1967/2005, p. 21), and which encompasses films developed through a totalizing impulse, “be it towards the total work of art, total history, or all-encompassing landscapes” (p. 31).

中文翻译：

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Lúcia Nagib (2020) 现实主义电影作为世界电影：非电影、中间通道、总电影

卢西亚·纳吉布 ( Lúcia Nagib ) 将现实主义电影作为世界电影声明：“他的书是关于致力于现实的电影和电影制作人”（第 15 页）。对纳吉布而言，现实主义较少关注电影和所指之间的巴兹尼本体论联系，而是处理这种索引性如何以及何时在电影中变得必不可少。这种方法使纳吉布能够将现实主义研究为“生产模式”（第 22 页），它渗透到世界电影中，而不受历史和地理因素的影响。纳吉布批评了强调观众身体重要性的研究，他主张根据电影的索引性质如何与电影建立关系来研究现实主义。为了组织她的语料库，纳吉布将她的书分为三个部分，基于她所认定的现实主义生产模式的子模式：非电影、中间段落和整体电影。非电影，对她来说，是“对电影的否定，将其转变为一种生活方式，并在政治上干预世界现象”（第 24 页）。中间段落是指“将电影中的其他艺术形式变为现实的中间过程”（第24页）。乌托邦式的“整体电影神话”是基于安德烈·巴赞对“整体现实主义”的人类渴望（Bazin，1967/2005，第 21 页），其中包括通过整体化冲动开发的电影，“无论是朝着整体作品的方向发展。艺术、全部历史或无所不包的风景”（第 31 页）。