By Andre Gaudreault, Timothy Barnard
With this lucid translation of Du litteraire au filmique, André Gaudreault's hugely influential and unique learn of movie narratology is now available to English-language audiences for the 1st time. development a thought of narrative on resources as different as Plato, The Arabian Nights,and Proust, From Plato to Lumière demanding situations narratological orthodoxy through positing that each one sorts of narrative are mediated via an "underlying narrator" who exists among the writer and narrative textual content. providing illuminating insights, definitions, and formal differences, Gaudreault examines the practices of novelists, playwrights, and filmmakers and applies his concept to the early cinema of the Lumière brothers and more moderen motion pictures. He additionally complements our realizing of the way narrative develops visually with out language - monstration - by means of detailing how the evolution of the medium stimulated narratives in cinema. From Plato to Lumière features a translation of Paul Ricoeur's preface to the French-language variation in addition to a brand new preface through Tom Gunning. it's a must-read for cinema and media scholars and students and an important textual content at the learn of narrative.
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Extra resources for From Plato to Lumière: Narration and Monstration in Literature and Cinema
It works well because it allows for a non-hierarchical study of the various agendas that are pursued, acted out, and undermined by film festival events. I will now elaborate upon how Latourian thinking and Actor-Network Theory (ANT) can be useful for media scholars. ” The turn to network theory takes its cue from the perceived inadequacies of the notions of “nation” and “auteur” in describing (European) cinema. These notions have spurred studies on “national cinema” that have concentrated on the cinematic texts produced in a territory and “auteur-cinema” in which the text is analyzed as that which is created by an artist with a unique vision.
My hypothesis, however, is that the film festival network is successful and capable of self-preservation pre- 36 Film Festivals cisely because it knows how to adapt to changing circumstances. In this way, film festivals position themselves somewhere between Luhmann’s and Latour’s opposing conceptions of the black box: like Luhmann’s black box, festivals are selfsustainable. However, they remain self-sustainable not because they form a Luhmannian autopoeitic system that is closed off to outside influences, but because they, in fact, operate as an open network in which Latourian controversies and irregularities can be translated.
It reframes traditional (European) film theoretical notions such as “the nation” and “auteur” as discourse strategies that dominate in specific periods and may return in adjusted form in later stages of a festival’s development. In addition, it explores how globalization theories (Hardt and Negri ; Virilio ; Sassen , ) can clarify the modalities that define the international film festival circuit of today. More specifically, it shows the intersections between macro- and micro-politics and relates, for example, global geopolitical strategies to the local spatial practices of contemporary festival organizations.