LukaCsian Film Theory and Cinema: A Study of Georg LukaCs' Writing on Film 1913-1971 Ian Aitken 9780719078842

Lukacsian film theory and cinema explores Georg Lukacs' writings on film. The Hungarian Marxist critic Georg Lukacs is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English - until now. Aitken has gathered together the most important essays and the translations appear here, often for the first time.

This book thus makes a decisive contribution to understandings of Lukacs within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukacs' literary theory is well known for its repudiation of naturalism, in his writings on film Lukacs appears to advance a theory and practice of film that can best be described as naturalist.

Lukacsian film theory and cinema is divided into two parts. In part one, Lukacs' writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves.

This book will be of considerable interest to scholars and students working within the fields of film studies, literary studies, intellectual history, media and cultural studies. It is also intended to be the final volume in a trilogy of works on cinematic realism, which includes the author's earlier European film theory and cinema (2001), and Realist film theory and cinema (2006).

"Aitken has done a brilliant job in articulating Lukacs's contributions to film in Lukacsian Film Theory to the extent that I would deem it absolutely essential to read Aitken's contextualizing chapters alongside the pieces written by Lukacs himself." (Richard Rushton, The Years Work in Critical and Cultural Theory, 22, April 2014)

'What makes Aitken's analysis peculiar is the seriousness and consistency with which he delves into Lukacs' philosophical and political universe. He explicitly takes the time to unravel the philosophical framework through which the aesthetic notions are then analysed. The filmic medium is thus understood for itself, in its own terms, but also as embedded in a complex of conceptual relations exceeding it. Hence, his book not only gives a comprehensive insight into Lukacs' original thinking and the way he correlates politics, philosophy, art and film, but also an illustration of the fruitfulness and the need of trespassing (while respecting at the same time) the intellectual division of labour in the analysis of specific art forms, particularly the filmic medium.'
Stefanie Baumann (IFILNOVA)