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OverviewThe Modernist Screenplay explores the film screenplay as a genre of modernist literature. It connects the history of screenwriting for silent film to the history of literary modernism in France, Germany, and Russia. At the same time, the book considers how the screenplay responded to the modernist crisis of reason, confronted mimetic representation, and sought to overcome the modernist mistrust of language with the help of rhythm. From the silent film projects of Bertolt Brecht, to the screenwriting of Sergei Eisenstein and the poetic scripts of the surrealists, The Modernist Screenplay offers a new angle on the relationship between film and literature. Based on the example of modernist screenwriting, the book proposes a pluralistic approach to screenplays, an approach that sees film scripts both as texts embedded in film production and as literary works in their own right. As a result, the sheer variety of different and experimental ways to tell stories in screenplays comes to light. The Modernist Screenplay explores how the earliest kind of experimental screenplays-the modernist screenplays-challenged normative ideas about the nature of filmmaking, the nature of literary writing, and the borders between the two. Full Product DetailsAuthor: Alexandra KsenofontovaPublisher: Springer Nature Switzerland AG Imprint: Springer Nature Switzerland AG Edition: 1st ed. 2020 ISBN: 9783030505912ISBN 10: 303050591 Pages: 241 Publication Date: 17 October 2021 Audience: Professional and scholarly , Professional & Vocational Format: Paperback Publisher's Status: Forthcoming Availability: Not yet available  This item is yet to be released. You can pre-order this item and we will dispatch it to you upon its release. Table of Contents1. Introducing the experimental screenplay.- 2. The screenplay between pragmatic and aesthetic functions.- 3. Pre-War screenwriting: Fist publications, first experiments.- 4. Interwar screenwriting in France: Scenario-poems, surrealism, and self-reflexivity.- 5. The screenplay after the Russian Revolution: For and against facticity .- 6. Expressionist screenwriting and the ennoblement of Weimar cinema.- 7. Modernist screenwriting against the crisis of reason.- 8. Representing despite the crisis of representation: The fallacies of modernist screenwriting.- 9. Rhythmic screenplays: Beyond dualisms.- 10. Conclusion. Techniques and functions of experimental screenwriting.ReviewsAuthor InformationAlexandra Ksenofontova completed her PhD in comparative literature at the Freie Universitat Berlin, Germany. She is the co-founder of the German screenwriting research network Drehbuchforschung, member of the editorial board of the Journal of Screenwriting, and the Early Career Representative on the Executive Council of the international Screenwriting Research Network. Tab Content 6Author Website:Countries AvailableAll regions |
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