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"Over the past 30 years, the fields of world literature and world cinema have developed on parallel but largely separate tracks, with little recognition of their underlying similarities and the ways that each can learn from the other. Time Regained does not move from literature to cinema, but exists simultaneously in both fields. The 7 filmmakers selected here, Andrei Tarkovsky, Akira Kurosawa, Martin Scorsese, Raúl Ruíz, Wong Kar Wai, Stephen Daldry, and Paolo Sorrentino, are themselves also writers or people with literary training, and they produce a new type of world cinema thanks to their understanding of the world simultaneously through literature and film. In the process, their films produce new readings of literary texts that world literature studies wouldn't have been able to achieve with its own instruments. Time Regained examines how filmmakers build on literature to reconfigure the world as a landscape of dreams and how they use film to reinvent the narrative techniques of the authors on whom they draw. The selected filmmakers draw inspiration from French surrealists, modernists Marcel Proust, Virginia Woolf, and Marguerite Yourcenar, and predecessors such as Dante and Cao Xueqin. In the process, these filmmakers cross the borders between film and literature, nation and world, dream and reality"--
Motion pictures and literature --- Film adaptations --- Time in motion pictures --- Time in literature --- History and criticism
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Motion picture producers and directors --- Motion pictures and literature. --- Motion pictures --- History --- Zvi︠a︡gint︠s︡ev, Andreĭ, --- Zvi︠a︡gint︠s︡ev, Andreĭ, --- Russia.
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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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The complete history of the Ben-Hur phenomenonBen-Hur was the first literary blockbuster to generate multiple and hugely profitable adaptations, highlighted by the 1959 film that won a record-setting 11 Oscars. More than a century before The Hunger Games and Harry Potter, and decades before Gone with the Wind and The Wonderful Wizard of Oz, General Lew Wallace’s Ben-Hur was spun off into dozens of popular publications and media productions, becoming a veritable commercial brand name that earned tens of millions of dollars.Ben-Hur: The Original Blockbuster surveys the phenomenon’s unprecedented range and extraordinary endurance: various editions, spin-off publications, stage productions, movies, comic books, radio plays, and retail products were successfully marketed and sold from the 1880s and throughout the twentieth century. Today Ben-Hur Live is touring Europe and Asia, with a third film released in 2016.Jon Solomon’s book offers an exciting and detailed study of the Ben-Hur brand, tracking its spectacular journey from Wallace’s original novel through to twenty-first century adaptations, and encompassing a wealth of previously unexplored material along the way.
Motion picture plays, American. --- Scénarios de cinéma américains --- Wallace, Lew, --- Ben-Hur (Motion picture : 1959) --- Christianity in motion pictures. --- Motion pictures and literature. --- HISTORY / Ancient / Rome. --- Literature and motion pictures --- Moving-pictures and literature --- Literature --- Motion pictures --- Film adaptations. --- Ben-Hur (Motion picture : 1925) --- Wallace, Lewis, --- אואלעס, לואיס --- וואלאס, ליו --- וואלס, ליו --- וולס, ליו --- Vālās, Līyū, --- والاس، ليو
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"Artificial Generation: Photogenic French Literature and the Prehistory of Cinematic Modernity looks at nineteenth-century literary representation and film theory, arguing that the depth of amalgamation that occurred within literary representation during this era is a key aesthetic tradition that continues to inform movies and contemporary culture today. A key part of this evolution in representation, a wide-scale artistic subjectivity around the re-emergence of the "artificial woman"-a notion that harkens back to longstanding expressions of mythological masculine subjectivity through the figure of the woman, refashioning important female figures that symbolize or problematize man's origins, including Eve and the Venus de Milo. This quest for masculine artistic subjectivity becomes a photographic and filmic drive by the turn of the century. The book explores the perpetuation of the myth of Pygmalion and Galatea in nineteenth-century literature. It then begins at the beginning of film history, with Georges Méliès in the 1890s and other "silent" filmmakers, moving through Alfred Hitchcock's Vertigo (1958) and Bladerunner 2049 (2017), analyzing these twentieth-century films to illustrate how these film texts are structured around mythic and literary principles from the prior century that serve as the basis for film as medium-a phantom form for life's representation. The book provides a crucial reassessment of the longstanding, mutual exchange between cinematic and literary representation, offering a fresh perspective on the proto-cinematic imperative of simulation within nineteenth-century literary symbolism"--
French literature --- Motion pictures and literature. --- Motion pictures --- Representation (Philosophy). --- Modernism (Art). --- History and criticism. --- Philosophy. --- French literature, cinema, film studies, media, media studies, film, film theory, artificial woman, Vertigo, Bladerunner 2049, literary representation, literary symbolism, Oscar Wilde, art, culture, contemporary culture.
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