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Overview"The concept of intertextuality has proven of inestimable value in recent attempts to understand the nature of literature and its relation to other systems of cultural meaning. In The Memory of Tiresias, Mikhail Iamposlki presents the first sustained attempt to develop a theory of cinematic intertextuality. Building on the insights of semiotics and contemporary film theory, Iampolski defines cinema as a chain of transparent, mimetic fragments intermixed with quotations he calls ""textual anomalies."" These challenge the normalization of meaning and seek to open reading out onto the unlimited field of cultural history, which is understood in texts as a semiotically active extract, already inscribed. Quotations obstruct mimesis and are consequently transformed in the process of semiosis, an operation that Iampolski defines as reading in an aura of enigma. In a series of brilliant analyses of films by D.W. Griffith, Sergei Eisenstein, and Luis Buñuel, he presents different strategies of intertextual reading in their work. His book suggests the continuing centrality of semiotic analysis and is certain to interest film historians and theorists, as well as readers in cultural and literary studies." Full Product DetailsAuthor: Mikhail Iampolski , Harsha RamPublisher: University of California Press Imprint: University of California Press Dimensions: Width: 15.20cm , Height: 2.00cm , Length: 22.90cm Weight: 0.454kg ISBN: 9780520085305ISBN 10: 0520085302 Pages: 285 Publication Date: 26 October 1998 Audience: Professional and scholarly , Professional & Vocational Format: Paperback Publisher's Status: Active Availability: Out of stock  The supplier is temporarily out of stock of this item. It will be ordered for you on backorder and shipped when it becomes available. Table of ContentsACKNOWLEDGEMENTS INTRODUCTION PART I* BASIC CONCEPTS Chapter 1. Cinema and the Theory of Intertextuality PART II* NARRATIVE'S WAY: D. W. GRIFFITH Chapter 2. Repressing the Source: D. W. Griffith and Browning Chapter 3* Intertextuality and the Evolution of Cinematic Language:Griffith and the Poetic Tradition PART III* BEYOND NARRATIVE: AVANT-GARDE CINEMA Chapter 4* Cinematic Language as Quotation: Cendrars and Leger Chapter 5* Intertext against Intertext: Bunuel and Dali's Un Chien andalou PART IV* THEORISTS WHO PRACTICED Chapter 6. The Hero as an Intertextual Body : Iurii Tynianov's Lieutenant Kizhe Chapter 7* The Invisible Text as a Universal Equivalent:Sergei Eisenstein CONCLUSION NOTES WORKS CITED INDEXReviewsAuthor InformationMikhail Iampolski teaches in the departments of Slavic and Comparative Literature and Russian Studies at New York University. Tab Content 6Author Website:Countries AvailableAll regions |
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