Martine Beugnet

Marion Schmid

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 Schlöndorff's Un Amour de Swann (1984), Raoul Ruiz's Le Temps retrouvé (1999), Chantal Akerman's La Prisonnière 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.

Proust at the Movies

Juliane Lorenz

Herbert Gehr

(Applause Books). Rainer Werner Fassbiner left behind a literary and cinematic legacy which holds a unique place in the history of European film and in the culture of the twentieth century. It evolved as the expression of an era, between 1966 and 1982, in a country which was then another Germany and which no longer exists.

Conversations about Rainer Werner Fassbinder

Chaos as Usual

Paul Gifford

À l'aube de notre jeune XXIe siècle, la critique génétique se trouve enfin en mesure de faire le point sur son passé et de tracer les grandes lignes de son avenir : qu'est-elle susceptible d'apporter à d'autres approches critiques telles que la sociologie, l'intertextualité et l'herméneutique ? Comment modifie-t-elle notre compréhension des oeuvres littéraires, ainsi que notre conception du texte ? Pourquoi, trente ans après son émergence dans le paysage critique, continue-t-elle à susciter la méfiance, voire l'hostilité dans les milieux universitaires ? Quelles seront ses pistes d'investigation et problématiques futures ? Quelles nouvelles voies les technologies comme l'hypertexte et les hypermédias ouvrent-elles en matière d'édition et de pédagogie ? Voilà quelques-unes des questions que se sont posées les auteurs du présent volume, spécialistes en critique génétique et en critique littéraire de part et d'autre de la Manche et de l'Atlantique. Illustrant l'activité courante du généticien et soulevant d'importantes questions théoriques, cet ouvrage se veut bilan de la discipline autant que panorama de ses possibles. Dans cette double perspective, il se propose d'évaluer l'état présent des études génétiques, de déterminer leur spécificité parmi les différentes approches critiques du texte, ainsi que d'apprécier l'aptitude de la génétique à réorienter, voire à renouveler la critique littéraire. Résolument interdisciplinaires, les travaux présentés examinent les grands débats qui ont eu lieu à l'intérieur de la discipline et à ses frontières, comparent des cas de genèse s'échelonnant du XVIe au XXe siècle, et tentent d'évaluer les acquis de la critique génétique et son impact sur la théorie et la pratique littéraires.

devenir de la critique génétique

La création en acte

"This work examines the genetic processes that shaped two of the great literary masterpieces of modernity: Flaubert's ""L'Education Sentimentale"" and Proust's ""A la Recherche de Temps Perdu"". A detailed investigation of Flaubert's notebooks and scenarios from 1864 and 1869 and Proust's ""Cahiers"" from 1908 to 1911 reveals the almost diametrically opposed ways in which the two novels evolved in their early stages."

Flaubert and Proust

Processes of Literary Creation

Kim Knowles

This edited collection proposes new directions for understanding cinematic intermediality, mapping out innovative approaches to film's relationship with some of its most influential artistic predecessors in the fields of performance, sculpture, painting, photography and dance.

Theory and Practice

Cinematic Intermediality

This edited collection proposes new directions for understanding cinematic intermediality, mapping out innovative approaches to film's relationship with some of its most influential artistic predecessors in the fields of performance, sculpture, painting, photography and dance. With essays by leading researchers and practitioners, this book investigates cinema's productive synergies and crossovers with the other arts through a broad range of avant-garde and experimental work. Mapping a trajectory from pre-cinema to the digital era, the book considers the impact of technological materiality on intermedial expression, incorporating both mainstream and experimental practice, world cinema and peripheral cinemas. Bridging the gap between theory and practice, it opens up new pathways for thinking about how intermediality, as both a creative method and an interpretative paradigm, might be explored alongside probing questions of what cinema is, has been and can be.

Chantal Akerman is widely acclaimed as one of the most original and important directors working in Europe today. A towering figure in women’s and feminist film-making, she has produced a diverse and intensely personal body of work ranging from minimalist portraits of the everyday to exuberant romantic comedies, and from documentaries and musicals to installation art. This book traces the director’s career at the crossroads between experimental and mainstream cinema, contextualising her work within the American avant-garde of the 1970s, European anti-naturalism, feminism and the post-modern aesthetics. While offering an in-depth analysis of her multi-faceted film style, it also stresses the social and ethical dimension of her work, especially as regards her representation of marginal groups and her exploration of exilic and diasporic identities. Particular attention is given to the inscription of the Holocaust and of Jewish memory in her films.

Chantal Akerman

Emma Wilson

Chantal Akerman was one of the most significant directors of our times. Focusing on Akerman's works of the last two decades, a period during which she diversified her creative practice, this collection traces her artistic trajectory across different media.

Marion Schmid

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