Comparative Cinema

Beschreibung

This book comprises what may be called exercises in ‘comparative cinema’. Its focus on endings, near-endings and ‘late style’ is connected with the author’s argument that comparative criticism itself may constitute an endgame of criticism, arising at the moment at which societies or individuals relinquish primary adherence to one tradition or medium. The comparisons embrace different works and artistic media and primarily concern works of literature and film, though they also consider issues raised by the interrelationship of language and moving and still images, as well as inter- and intra-textuality. The works probed most fully are ones by Theo Angelopoulos, Ingmar Bergman, Harun Farocki, Theodor Fontane, Henry James, Krzysztof Kieślowski, Chang-dong Lee, Roman Polański, Thomas Pynchon, and Paul Schrader, while the key recurrent motifs are those of dusk, the horizon, the labyrinth, and the ruin.
This book comprises what may be called exercises in ‘comparative cinema’. Its focus on endings, near-endings and ‘late style’ is connected with the author’s argument that comparative criticism itself may constitute an endgame of criticism, arising at the moment at which societies or individuals relinquish primary adherence to one tradition or medium. The comparisons embrace different works and artistic media and primarily concern works of literature and film, though they also consider issues raised by the interrelationship of language and moving and still images, as well as inter- and intra-textuality. The works probed most fully are ones by Theo Angelopoulos, Ingmar Bergman, Harun Farocki, Theodor Fontane, Henry James, Krzysztof Kieślowski, Chang-dong Lee, Roman Polański, Thomas Pynchon, and Paul Schrader, while the key recurrent motifs are those of dusk, the horizon, the labyrinth, and the ruin.
Transplants into Film Studies the protocols and procedures of Comparative Literature Offers an original theory of the relationship between comparatism and the sense of ending, with particular reference to theories of modernism, abstraction, quotation and randomization Theorizes the emergence of cinema as a ‘late thing’ in the histories of society, the mind, the arts and the senses Presents a wide international range of literary and filmic texts, both occidental and oriental, that raise the question of ending in various ways Affords a uniquely dialectical consideration of the relationship between intertextuality, intratextuality and intermediality Provides an original contribution to adaptation studies that has relevance to other fields also, particularly aesthetics and philosophy Maps the relationship between texts’ endings or endlessness, and figures of escape, the labyrinth, the ruin, the double, and dusk

Autor*in

Paul Coates

Themen in »Comparative Cinema«

Ending Ruin Escape Late Work Comparatism

Stimmen zu »Comparative Cinema«

Details

Link teilen