Download A Companion to Literature and Film (Blackwell Companions in by Robert Stam, Alessandra Raengo PDF

By Robert Stam, Alessandra Raengo

A spouse to Literature in movie provides cutting-edge examine on global literature, movie, and the complicated theoretical dating among them. 25 essays by way of foreign specialists disguise an important issues within the examine of literature and picture diversifications.

* Covers a wide selection of subject matters, together with cultural, thematic, theoretical, and style matters
* Discusses movie variations from the start of cinema to the current day
* Explores a various variety of titles and genres, together with movie noir, biblical epics, and Italian and chinese language cinema

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Additional info for A Companion to Literature and Film (Blackwell Companions in Cultural Studies)

Sample text

I try to exclude titles wherever possible . . ”71 The word “borrow” implies that words do not belong to film, but rather constitute temporary literary loans until film’s images can speak for themselves. In 1928, Ukrainian theorist Leonid Skrypnyk complained: “Cinema has to humiliate itself and seek compromises [with literature]. 73 When intertitles give way to spoken dialogue, critics and filmmakers attack it as a reinfestation of film by literature, rather than a new technology or an integral component of film.

Eisenstein extends the literary analogy from practice to criticism. Lamenting that “in comparison with analyses of [literature] . . my analysis is still quite descriptive and easy,” he offers analogical remedies: “An analysis of the very lenses employed in filming . . with camera angles and lighting . . would serve as an exact analogy to an analysis of the expressiveness of phrases and words . . in a literary work” (p. 120). “The Art of the Sub-Title,” The Picturegoer (May 1921), 21. Edmund Wilson, The Boys in the Back Room (San Francisco: Colt Press, 1941), p.

Rather, it must result from the word and image rivalries that have so clouded critical objectivity for more than a century. It emerges as almost comical that critical rhetoric insists on film as book illustration analogically, yet overlooks ways in which actual illustrations may have directly influenced film techniques. To do so, however, would require a reconsideration of film images’ claim to language and undermine the rivalries that it fosters. Kamilla Elliott 16 exactly this: montage sequences that interweave intertitles and filmed scenes to form hybrid verbal-visual “sentences” governed by verbal syntax.

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