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- catalog abstract "Cinema has always been "literary" in its desire to tell stories and in its need to borrow plots and narrative techniques from novels. But the French "new wave" filmmakers of the 1950s self-consciously rejected the idea that film was a mere extension of literature. With subversive techniques that exploded traditional methods of film narrative, new wave directors embraced fragmentation (borrowing from Eisenstein's theory of montage) and alienation (borrowing from Brecht). Their cinema would be the rival, not the apprentice, of literature. In Screening the Text T. Jefferson Kline argues that the new wave's rebel stance is far more complex and problematic than critics usually acknowledge. Challenging conventional views of film and literature in postwar France, Kline explores the new wave's unconscious--even oedipal--obsession with the tradition it claimed to reject. He focuses on the technique of "screening" a literary or cultural reference, at once revealing and obscuring it with fleeting images and suggestive dialogue. Constructing virtual hieroglyphs from montages of literature, painting, and popular culture, new wave directors found a revolutionary style to match their revolutionary subjects--ambivalence, fragmentation, and the unconscious. To make his case, Kline establishes the international range of the literary and cultural texts "screened" by Truffaut, Malle, Chabrol, Rohmer, Bresson, Godard, and Resnais. Their fascination with American film is well known, but their references extend well beyond--to classical mythology, to contemporary and classical French literature, and to a variety of Russian, Norwegian, German, and English writers and philosophers. Armed with terms such as auteur and camera stylo, the new cineastes engaged directly in "film writing," even while rejecting the orderliness required by straightforward adaptation of written works. In exploiting film's unique capacity to be "intertextual" and imitate unconscious narrative, Kline concludes, the new wave directors were skillfully, if ironically, literary.".
- catalog contributor b3554191.
- catalog created "c1992.".
- catalog date "1992".
- catalog date "c1992.".
- catalog dateCopyrighted "c1992.".
- catalog description "Cinema has always been "literary" in its desire to tell stories and in its need to borrow plots and narrative techniques from novels. But the French "new wave" filmmakers of the 1950s self-consciously rejected the idea that film was a mere extension of literature. With subversive techniques that exploded traditional methods of film narrative, new wave directors embraced fragmentation (borrowing from Eisenstein's theory of montage) and alienation (borrowing from Brecht). Their cinema would be the rival, not the apprentice, of literature.".
- catalog description "Filmography: p. 297-299.".
- catalog description "In Screening the Text T. Jefferson Kline argues that the new wave's rebel stance is far more complex and problematic than critics usually acknowledge. Challenging conventional views of film and literature in postwar France, Kline explores the new wave's unconscious--even oedipal--obsession with the tradition it claimed to reject. He focuses on the technique of "screening" a literary or cultural reference, at once revealing and obscuring it with fleeting images and suggestive dialogue. Constructing virtual hieroglyphs from montages of literature, painting, and popular culture, new wave directors found a revolutionary style to match their revolutionary subjects--ambivalence, fragmentation, and the unconscious.".
- catalog description "In exploiting film's unique capacity to be "intertextual" and imitate unconscious narrative, Kline concludes, the new wave directors were skillfully, if ironically, literary.".
- catalog description "Includes bibliographical references (p. 263-296) and index.".
- catalog description "Introduction: screening the text -- -- Anxious Affinities: text as screen in Truffaut's Jules et Jim -- Remapping tenderness: Louis Malle's lovers with no tomorrow -- -- Rebecca's bad dream: speculations on/ in Resnais's Marienbad -- -- In the labyrinth of illusions: Chabrol's mirrored films -- -- Pascal victim: the hidden text in Rohmer's ma nuit chez maud -- Picking Dostoevsky's pocket: Bresson's Sl(e)ight of screen -- The ABC's of Godard's quotations: a bout de souffle with Pierrot le fou".
- catalog description "To make his case, Kline establishes the international range of the literary and cultural texts "screened" by Truffaut, Malle, Chabrol, Rohmer, Bresson, Godard, and Resnais. Their fascination with American film is well known, but their references extend well beyond--to classical mythology, to contemporary and classical French literature, and to a variety of Russian, Norwegian, German, and English writers and philosophers. Armed with terms such as auteur and camera stylo, the new cineastes engaged directly in "film writing," even while rejecting the orderliness required by straightforward adaptation of written works.".
- catalog extent "ix, 308 p. :".
- catalog hasFormat "Screening the text.".
- catalog identifier "0801842670 (alk. paper)".
- catalog identifier "9780801842672 (alk. paper)".
- catalog isFormatOf "Screening the text.".
- catalog issued "1992".
- catalog issued "c1992.".
- catalog language "eng".
- catalog publisher "Baltimore : Johns Hopkins University Press,".
- catalog relation "Screening the text.".
- catalog spatial "France.".
- catalog subject "791.43/75/0944 20".
- catalog subject "Cinema Films (Motion pictures) History".
- catalog subject "Cinéma France.".
- catalog subject "Cinéma et littérature.".
- catalog subject "France".
- catalog subject "Intertextuality.".
- catalog subject "Intertextualité.".
- catalog subject "Motion pictures and literature.".
- catalog subject "New wave films France.".
- catalog subject "PN1993.5.F7 K57 1992".
- catalog tableOfContents "Introduction: screening the text -- -- Anxious Affinities: text as screen in Truffaut's Jules et Jim -- Remapping tenderness: Louis Malle's lovers with no tomorrow -- -- Rebecca's bad dream: speculations on/ in Resnais's Marienbad -- -- In the labyrinth of illusions: Chabrol's mirrored films -- -- Pascal victim: the hidden text in Rohmer's ma nuit chez maud -- Picking Dostoevsky's pocket: Bresson's Sl(e)ight of screen -- The ABC's of Godard's quotations: a bout de souffle with Pierrot le fou".
- catalog title "Screening the text : intertextuality in new wave French cinema / T. Jefferson Kline.".
- catalog type "text".