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Adaptation persists as a major area of inquiry in both film and
literary studies. Over the past two decades, scholars have extended
the debate well beyond George Bluestone's influential Novels into
Film (1957) by taking into account such concerns as intertextuality
and different forms of narrative enabled through new media. A
dominant trend has been to dispense straight away with questions of
fidelity and "faithfulness," the assumption being that such views
are naive, moralistic, and rooted in a cultural prejudice against
the audiovisual. While acknowledging the merits of this
position-namely its complication of the one-way "page-to-screen"
perspective-this collection seeks to put the question of fidelity
back into play. The essays explore the ways in which the newer,
more sophisticated approaches can still accommodate forms of
fidelity between two or more texts without having to reinscribe
untenable distinctions between "original" and "copy," and without
having to argue from a strict media essentialist position that
stages an impasse between linguistic and cinematic means of
articulation. In addition, the scholars in this volume seek to
recognize and account for fidelity's cultural currency among
filmmakers and audiences alike, no matter how impossible fidelity
might be in a literal sense. The selected essays offer an
opportunity to showcase both well established adaptation scholars
(Laura Mulvey, Dudley Andrew, Tom Gunning and James Naremore) and
emerging voices in the field.
Godard and the Essay Film offers a history and analysis of the
essay film, one of the most significant forms of intellectual
filmmaking since the end of World War II. Warner incisively
reconsiders the defining traits and legacies of this still-evolving
genre through a groundbreaking examination of the vast and
formidable oeuvre of Jean-Luc Godard. The essay film has often been
understood by scholars as an eccentric development within
documentary, but Warner shows how an essayistic process of thinking
can materialize just as potently within narrative fiction films,
through self-critical investigations into the aesthetic, political,
and philosophical resources of the medium. Studying examples by
Godard and other directors, such as Orson Welles, Chris Marker,
Agnes Varda, and Harun Farocki, Warner elaborates a fresh account
of essayistic reflection that turns on the imaginative,
constructive role of the viewer. Through fine-grained analyses,
this book contributes the most nuanced description yet of the
relational interface between viewer and screen in the context of
the essay film. Shedding new light on Godard's work, from the 1960s
to the 2010s, in film, television, video, and digital stereoscopy,
Warner distils an understanding of essayistic cinema as a shared
exercise of critical rumination and perceptual discovery.
Godard and the Essay Film offers a history and analysis of the
essay film, one of the most significant forms of intellectual
filmmaking since the end of World War II. Warner incisively
reconsiders the defining traits and legacies of this still-evolving
genre through a groundbreaking examination of the vast and
formidable oeuvre of Jean-Luc Godard. The essay film has often been
understood by scholars as an eccentric development within
documentary, but Warner shows how an essayistic process of thinking
can materialize just as potently within narrative fiction films,
through self-critical investigations into the aesthetic, political,
and philosophical resources of the medium. Studying examples by
Godard and other directors, such as Orson Welles, Chris Marker,
Agnes Varda, and Harun Farocki, Warner elaborates a fresh account
of essayistic reflection that turns on the imaginative,
constructive role of the viewer. Through fine-grained analyses,
this book contributes the most nuanced description yet of the
relational interface between viewer and screen in the context of
the essay film. Shedding new light on Godard's work, from the 1960s
to the 2010s, in film, television, video, and digital stereoscopy,
Warner distills an understanding of essayistic cinema as a shared
exercise of critical rumination and perceptual discovery.
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