moral problems that start from immoral presumptions . Humanistic and Symbolic Dissonances in Linklater and Sayles Other films may foreground ethics but do not work in a strictly realist mode. Richard Linklater’s 2011 film Bernie offers an alternative
André Bazin and Roland Barthes both theorize a cinematic realism based on the indexical ability of the photographic image (the ability of the image to indicate an original object). How are their arguments affected by the advent of digital, nonindexical cinematic technologies? The article considers how a nonindexical realism might be possible, by looking at three recent films: Waking Life, A Scanner Darkly, and Eternal Sunshine of the Spotless Mind.
Boyhood: Twelve Years on Film, photographs by Matt Lankes, texts by Richard Linklater, Ethan Hawke, Patricia Arquette, Ellar Coltrane, Lorelei Linklater, Cathleen Sutherland, and Matt Lankes. Austin, TX: University of Texas Press, 2014. 200 pp. ISBN 978-1-4773-0541-6 (pb)
Edited by Stephen Prince
in the films of David Lynch, John Sayles, Ken Loach, and Richard Linklater and considers the ways that theorists and critics have dealt with such material in their analyses of these filmmakers. Few essays in the history of cinema have been so
Kata Szita, Paul Taberham, and Grant Tavinor
flattened 2D style, as seen in Waking Life (Richard Linklater, 2001). Digital matte paintings in putatively live-action worlds are also discussed, as seen in films like Sky Captain and the World of Tomorrow (Conran Kerry, 2004), Sin City (Robert