This book 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 du temps perdu. A detailed investigation of Flaubert's notebooks and scenarios from 1864 to 1869 and Proust's cahiers from 1908 to 1911 reveals the most diametrically opposed ways in which the two novels evolved in their early stages. By challenging certain modernist' readings of Flaubert, and inviting a rethinking of Proust, the author demonstrates that genetic studies have a direct bearing on the interpretation of literary texts.

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.

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.

Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on Andre Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors Francois Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, Agnes Varda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice. Key Features: A wide-ranging study which explores the complex, often ambiguous ways in which the New Wave engages with the other arts in both its discursive construction and cinematic practice Affords a new prism for understanding New Wave filmmaking and its legacy through comprehensive analysis of the ways in which the New Wave aesthetic was shaped through intermedial dialogue and medium rivalry Reassesses one of the most acclaimed movements in film history drawing on cutting-edge theory in the prominent field of intermediality studies Offers an inclusive, heterogeneous view of the New Wave through inclusion of lesser-known directors such as Guy Gilles, Jean-Daniel Pollet and Jacques Demy alongside renowned Nouvelle Vague filmmakers

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 cinema's boldest visionaries. A towering figure in women's and feminist film-making, she 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. -- .

Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on Andre Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors Francois Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, Agnes Varda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice. Key Features: A wide-ranging study which explores the complex, often ambiguous ways in which the New Wave engages with the other arts in both its discursive construction and cinematic practice Affords a new prism for understanding New Wave filmmaking and its legacy through comprehensive analysis of the ways in which the New Wave aesthetic was shaped through intermedial dialogue and medium rivalry Reassesses one of the most acclaimed movements in film history drawing on cutting-edge theory in the prominent field of intermediality studies Offers an inclusive, heterogeneous view of the New Wave through inclusion of lesser-known directors such as Guy Gilles, Jean-Daniel Pollet and Jacques Demy alongside renowned Nouvelle Vague filmmakers

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.

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. -- .

Das umfangreiche Werk der in Auschwitz umgekommenen Autorin Irene Nemirovsky erlebt seit der posthumen Veroeffentlichung ihres unvollendeten Romanepos Suite francaise sowie dessen prompter Auszeichnung mit dem Prix Renaudot eine internationale Renaissance. Die detaillierten Romanentwurfe und Projektskizzen aus dem handschriftlichen Nachlass der bereits zu Lebzeiten gefeierten Schriftstellerin bedeuten einen Glucksfall fur die Forschung, dokumentieren sie doch im Detail Nemirovskys intensive Auseinandersetzung mit intermedialen Schreibexperimenten. Wie vor ihr Marcel Proust, James Joyce und Thomas Mann, entdeckte sie die Musik als vielseitiges Modell fur die Konzeption und Gestaltung ihres Schreibens. Keine geringere als Beethovens fulminante 5. Symphonie stand Pate fur Suite francaise - das Werk orientiert sich damit in Form und Struktur, aber auch in assoziativen aussermusikalischen Inhalten an einer der bedeutendsten Kompositionen der klassischen Musik. Das Buch zeigt auf, mit welchen rhetorischen, narrativen und strukturellen Mitteln es Nemirovsky gelingt, die jeweilige musikalische Vorlage in den literarischen Text zu ubersetzen, und ermoeglicht somit voellig neue Einblicke in das Hauptwerk der Autorin.