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Lo común es que hoy nadie menor de treinta años pueda evocar la primera imagen de televisión que recuerda por el simple hecho de que se es espectador de televisión desde los primeros meses de edad. Antes de que cuaje la caliza de la memoria, la impronta de la televisión queda marcada en esa materia que conforma luego el manantial de toda imaginaciόn. La propia inteligencia no se entiende a si misma sin ese material que es parte del sistema de aproximación al mundo. Del mismo modo que la arqueología va sacando a flote siglos y milenios del paso de los humanos por la tierra, el recuerdo quiere sacar de ese tiempo de su primera edad que no puede medirse las explicaciones del mecanismo con que percibimos el mundo, pero hay cosas que no fueron aprendizaje porque no había conciencia sino experiencia pura. Hay que sacarlo entonces de la imaginaciόn.Como me ocurre con el cine; porque debo haber sido llevado con frecuencia antes de lo que puedo recordar. Por más que trato de concentrarme pa.

Motion pictures --- Motion pictures and literature

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A lucid and straightforward analysis that argues that film and literature are not the entirely different, antithetical disciplines they have been and are widely held to be. Mr. Richardson shows clearly the relationship of film to literature, outlining differences as well as similarities, and common goals as well as divergent aims appropriate to the two arts. He demonstrates how each form and its associated criticism is frequently able to illuminate and enliven the other. A film consciousness sharpens the reader's alertness to the visual and aural qualities that mark much great writing, and literary training, in turn, adds depth and perspective to appreciation of film. The author goes on to present some of the literary influences that have affected film during its development, and discusses the impact of film on modern literature. He concludes with an extended exploration of the relationship of film to poetry, suggesting that while the two forms use similar techniques, film has dealt more significantly with the problem of how to find a humane, noncoercive order in life.

Motion pictures and literature. --- Literature and motion pictures --- Moving-pictures and literature --- Literature --- Film: styles & genres

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Il ne s’agit pas ici de ce que le cinéma fait à la littérature mais de ce que l’imaginaire polysémique de la projection suscite d’allers, de retours et de réécritures croisées entre les deux disciplines, y compris dans les possibles dérives « projectives » du geste interprétatif, du moment qu’il entraîne un gain heuristique et travaille au croisement de l’optique et du psychique. La projection cinématographique est en effet, d’abord, un dispositif optique. Un faisceau lumineux transporte en l’agrandissant, parfois en l’anamorphosant, une image sur un écran : image passée, qu’il actualise ; image fugace, dont il déploie l’évanescence ; image photogramme, qu’il met en mouvement et expose à la dissemblance. Or la participation émotionnelle que suscite l’optique n’est pas sans rapport avec le dispositif psychique du même nom, qui consiste à extérioriser un contenu inconscient pour le voir en le déniant comme sien. Les deux versants de la projection ont en commun d’être des mécanismes qui mettent en jeu un travail de déformation autant destiné à faire voir qu’à opacifier et faire écran. Le cinéma s’avère alors surface où s’inscrivent les traumas inassimilables auxquels la projection donne forme visible selon le modèle de la figurabilité inconsciente. Ces prémisses esquissent les contours d’un nouveau chantier interdisciplinaire dont cette publication collective entend déployer l’extension maximale et donner les premières clés de compréhension.

Film --- Literature --- Motion picture projection --- Anamorphosis (Visual perception) --- Motion pictures and literature --- Projection cinématographique --- Anamorphose (perception visuelle) --- Cinéma et littérature --- Projection cinématographique --- Cinéma et littérature --- Cinéma et littérature. --- Projection cinématographique. --- Cinéma et littérature. --- Projection cinématographique. --- Film Radio Television --- Literature (General) --- cinéma --- littérature

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Questo libro nasce dal desiderio di ripercorrere un decennio di vita del cinema italiano, gli anni Cinquanta che, stretti tra il neorealismo e la modernità degli anni Sessanta, appaiono, a ogni rinnovato studio, un campo prezioso di esercizio per trascorrere dal vecchio al nuovo, dalla tradizione a forme rinnovate per il nostro cinema. E studiando questo periodo si incontra Giorgio Bassani come uomo di cinema. Un aspetto, questo, sicuramente minore rispetto alla mai abbastanza celebrata personalità di fine letterato e di indomito intellettuale. Ma un aspetto che ci permette di rileggere il cinema di quegli anni come grande momento di elaborazione di un passato prossimo, di un’eredità cogente, di una storia appena trascorsa, ma anche come volano per intraprendere spericolate strade divergenti, rotte alternative che puntano a un orizzonte che appena si intravede. Seguire le tracce lasciate dalla relazione di Bassani con il cinema italiano significa, dunque, prendere le mosse da una biografia, dalla storia di una vita, e ritornare sentimentalmente a un periodo che ha visto letterati impegnati a fianco di personalità del mondo del cinema tentare la bella impresa del confronto, animati dall’idea di fondare una nuova forma di scrittura intermedia e contemporanea.

Motion pictures and literature --- Romance Literatures --- Languages & Literatures --- Italian Literature --- Literature and motion pictures --- Moving-pictures and literature --- Literature --- Bassani, Giorgio, --- Criticism and interpretation. --- Bassani, G. --- Basani, G'iorg'io, --- Basani, G'. --- באסאני, ג׳ורג׳ו --- בסאני, ג׳ורג׳ו --- בסני, ג׳ורג׳יו --- cinema italiano

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Ranging over the broad spectrum of contemporary literary and film theory, Breaking the Frame explores the different approaches to cinematic art that are offered by cognitive psychology, feminist theory, aesthetics, and psychoanalysis. In this study Inez Hedges looks closely at films that challenge accepted norms in both form and content. The films discussed here, including Zazie, La Nuit de Varennes, and E.T., break out of conventional frames, upsetting our expectations about how films should look (the film frame) as well as how experience is usually organized by cine- matic works of art (the psychological or cognitive frame). Hedges focuses on two primary areas: the way that the structure of film texts guides the interpretations of the spectator (hermeneutics) and the way that films reflect social models (representation). Within the hermeneutic approach, the author relates the unconventional use of film language in cinematic works of the 1960s and 1970s not only to the recent novels of Beckett and Queneau and to the French nouveau roman but also to one of the founding texts of Western literature, the Oedipus Rex of Sophocles. The discussion of representation exam- ines the social ascendancy of cinematic narrative in modern times in the light of the philosophical insights of Michel Foucault and Harold Bloom. Finally, contemporary feminist and psychoanalytic theories are brought to bear on cinematic representations of gender. Breaking the Frame will be of interest not only to scholars and students of film and literature but also to today's "filmliterate" public who enjoy exploring the theoretical and philosophical implications of cinematic works.

Interpretatie. --- Vertelkunst. --- Filmkunst. --- Motion pictures --- Motion pictures and literature. --- Cinema --- Cinema et litterature. --- Philosophy. --- Philosophie. --- Literature and motion pictures --- Moving-pictures and literature --- Literature --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Film history, theory & criticism