Proust at the movies
著者
書誌事項
Proust at the movies
(Studies in European cultural transition / general editors, Martin Stannard and Greg Walker, v. 31)
Ashgate, c2004
大学図書館所蔵 全4件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [247]-255) and index
内容説明・目次
内容説明
Film established itself as an artistic form of expression at the same time that Proust started work on his masterpiece, A la recherche du temps perdu. If Proust apparently took little interest in what he described as a poor avatar of reductive, mimetic representation, the resonances between his own radical reworking of writing styles and the novelistic forms, and cinema as the art of time are undeniable. Proust at the Movies is the first study in English to consider these rich interconnections. Its introductory chapter charts the missed encounter between Proust and the cinema and addresses the problems inherent in adapting his novel to the screen. The following chapters examine the various cinematic responses to A la recherche du temps perdu attempted to date: Luchino Visconti and Joseph Losey's failed attempts at adapting the whole of the novel in the 1970s, Volker SchlAndorff's Un Amour de Swann (1984), Raoul Ruiz's Le Temps retrouve (1999), Chantal Akerman's La Prisonniere in La Captive (2000), and Fabio Carpi's Quartetto Basileus (1982) and Le Intermittenze del cuore (2003). The last chapter tracks the echoes of Proust's writing in the work of various directors, from Abel Grace to Jean-Luc Godard. The approach is multidisciplinary, combining literary criticism with film theory and elements of philosophy of art. Special attention is given to the modernist legacy in literature and film with its distinctive aesthetic and narrative features. An outline of the history and recent evolution of contemporary art cinema thus emerges: a cinema where the themes at the heart of Proust's work - memory, time, perception - are ceaselessly explored.
目次
- Contents: Introduction
- Proust and the cinema
- Cinema as grand narrative: Visconti's and Losey's planned adaptations of A la recherche du temps perdu
- Love demystified: Volker SchlAndorff's Un Amour de Swann
- Surrealist Proust: Raoul Ruiz's Le Temps retrouve
- Filming obsession: Chantal Akerman's La Captive
- Beyond adaptation: Fabio Carpi's Quartetto Basileus and Le Intermittenze del cuore
- The modernist legacy
- Conclusion
- Filmography and bibliography
- Index.
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