Realism as abstraction a semio-philosophical approach to film reality

The present article aims to analyse some of the ways in which realism is experienced in mixed media films. The definition of what is real appears to be challenging in this context; however, delineating the semiotic and philosophical approaches to reality, and characterizing the various elements that engender an experience of ‘realism’ in viewers of audio-visual representations, based on the premise that ‘realism’ can be defined as an evaluative feeling based on perception, cognition and habituation, may prove beneficial. The starting point is a discussion of how mental schemas can provide images as abstractions of objects and spaces, making some types of realism that are subjective decunstructions. The purposes of this article are mostly philosophical, according to an intellectual exercise that shows how some socio-semiotic and aesthetic theories of reality can fit into an analysis of mixed media cinema. The objective is not to provide comprehensive answers to profound philosophical questions concerning the concepts of fiction and reality, but rather to encourage the reader to contemplate the potential of philosophy as a preliminary investigative framework for the concept of cinematic realism, which is deemed essential for the perception and comprehension of films as artistic creations. The examination of cinematic realism will draw upon the contributions of authors such as Vaihinger (fictionalism), Meinong (inexistent object), Foucault (heterotopia), Walton (fictionality) and Lotman (semio-sphere) whose ideas will be applied to the films under scrutiny.