By Andre Gaudreault, Timothy Barnard

With this lucid translation of Du litteraire au filmique, André Gaudreault's hugely influential and unique examine of movie narratology is now obtainable to English-language audiences for the 1st time. construction a concept of narrative on resources as diversified as Plato, The Arabian Nights,and Proust, From Plato to Lumière demanding situations narratological orthodoxy by way of positing that every one types of narrative are mediated through 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 thought to the early cinema of the Lumière brothers and newer motion pictures. He additionally complements our figuring out of ways narrative develops visually with out language - monstration - via detailing how the evolution of the medium prompted narratives in cinema. From Plato to Lumière incorporates a translation of Paul Ricoeur's preface to the French-language version in addition to a brand new preface via Tom Gunning. it's a must-read for cinema and media scholars and students and an important textual content at the research of narrative.

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Extra resources for From Plato to Lumière: Narration and Monstration in Literature and Cinema

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Sounds and images are "reactivated," multiplied and intensified, precisely by being cut off from their source or origin. Mechanical reproduction marks the withering of the aura, the radical subversion of the hierarchy of original and copy upon which the theories of mediation and representation, or lack and substitution, depend. Film theorists usually posit a radical opposition between the direct presentation of sounds and images through recording and the manipulation of them through editing. 7 contemporary phenomenological theorists such as Dudley Andrew as it is for formalists from Eisenstein and Balazs on to semiotic and psychoanalytic critics writing in the wake of Metz.

The Hegelian argument against raw sensation is valid only to the extent that sensation is equated with cognition and attributed to a fixed subject. But now, perception can no longer be subsumed under reflective consciousness, or under cognition and judgment; instead, it marks a limit beyond which these can never extend. Sensation is disengaged from the transcendental conditions that are supposed to ground and organize it, as from the referential coordinates that allow us to locate and preserve it.

A wide variety of cinematic pleasures are predicated explicitly upon the decentered freeplay, the freedom from the constraints of subjectivity, that editing and special effects make possible. This is not the case only with a film such as Man with a Movie Camera, whose delirious explorations of nonsubjective perception are directly linked to a revolutionary political practice. One can cite, just as readily, the weird alienation effects that proliferate throughout Jerry Lewis's comedies (discussed in chapter III) or the implausible arrangements of bodies, impossible points of view, nonnaturalistic transformations of decor, and other forms of visual and narrative discontinuity that characterize the classic American musical.

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