Free Delivery Over $100
|
|
|||
|
||||
OverviewIn works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration) in terms of the movie's sound and image track. Viewers are usually prompted to imagine seeing the items and events in the movie's fictional world and to imagine hearing the associated fictional sounds. However, it is much less clear that the cinematic narration must be imagined as the product of some kind of 'narrator' - of a work-internal agent of the narration. Wilson goes on to examine the further question whether viewers imagine seeing the fictional world face-to-face or whether they imagine seeing it through some kind of work-internal mediation. It is a key contention of this book that only the second of these alternatives allows one to give a coherent account of what we do and do not imagine about what we are seeing on the screen. Having provided a partial account of the foundations of film narration, the final chapters explore the ways in which certain complex strategies of cinematic narration are executed in three exemplary films: David Fincher's Fight Club, von Sternberg's The Scarlet Empress, and the Coen brothers' The Man Who Wasn't There. Full Product DetailsAuthor: George M. Wilson (University of Southern California)Publisher: Oxford University Press Imprint: Oxford University Press Dimensions: Width: 15.70cm , Height: 1.30cm , Length: 23.30cm Weight: 0.418kg ISBN: 9780199686780ISBN 10: 0199686785 Pages: 230 Publication Date: 10 October 2013 Audience: General/trade , Professional and scholarly , General , Postgraduate, Research & Scholarly Format: Paperback Publisher's Status: Active Availability: To order  Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of ContentsPART I: INTRODUCTORY CHAPTER GENERAL INTRODUCTION 1: NARRATIVE AND NARRATION: SOME RUDIMENTS PART II: NARRATIVES AND NARRATION 2: LE GRAND IMAGIER STEPS OUT: ON THE PRIMITIVE BASIS OF FILM NARRATION 3: THE IMAGINED SEEING THESIS 4: LE GRAND IMAGIER IN REVIEW PART III: NARRATORS: IN LITERATURE AND FILM 5: ELUSIVE NARRATORS IN LITERATURE 6: ELUSIVE NARRATORS IN FILM PART IV: STRATEGIES OF FILM NARRRATION: POINT OF VIEW 7: TRANSPARENCY AND TWIST IN NARRATIVE FILM 8: THE TRANSFIGURATION OF CLASSICAL HOLLYWOOD NORMS: ON VON STERNBERG'S LAST FILMS WITH DIETRICH 9: LOVE AND BULLSHIT IN SANTA ROSA: PASTICHE IN THE COEN BROTHERS' THE MAN WHO WASN'T THERE BIBLIOGRAPHYReviewsSeeing Fiction in Film is among the most rewarding works on film and film narrative that are currently on offer. Though intricately argued, it is surprisingly easy to follow. Though extremely sophisticated, it keeps one thoroughly engaged. If, like me, one has not followed the ins and outs of the debate on the perception and cognition of cinematic fiction, after reading this work, one will be well prepared to pursue it further. If one has followed it, this work is essential reading for moving on to the next phase of the debate. * Robert Stecker, Mind * ... the strength of the book is how it uses the concept of imagined seeing to develop an account of cinematic narration, which in turn informs the aesthetic interpretation of film The book thus has much to recommend it to anyone interested in issues at the intersection of epistemology and aesthetics. * Analysis * .. .the strength of the book is how it uses the concept of imagined seeing to develop an account of cinematic narration, which in turn informs the aesthetic interpretation of film... The book thus has much to recommend it to anyone interested in issues at the intersection of epistemology and aesthetics. --Analysis Author InformationGeorge M. Wilson was born and raised in Oregon. He received his AB from the University of Kansas and his PhD from Cornell. He has taught at Johns Hopkins University, the University of California at Davis, and he is currently a professor of philosophy and cinematic arts at the University of Southern California. He has visited at Harvard and Princeton and was a Fellow at the National Humanities Center. Besides film aesthetics, he has worked and published in the fields of philosophy of language, the theory of action, and on the philosophy of Wittgenstein. Tab Content 6Author Website:Countries AvailableAll regions |
||||
