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Memory of Tiresias: Intertextuality and Film (Paperback or Softback)

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Item specifics

Condition
Brand new: A new, unread, unused book in perfect condition with no missing or damaged pages. See the ...
ISBN
0520085302
EAN
9780520085305
Manufacturer
University of California Press
Brand
University of California Press
Binding
TP
Book Title
Memory of Tiresias: Intertextuality and Film

About this product

Product Identifiers

Publisher
University of California Press
ISBN-10
0520085302
ISBN-13
9780520085305
eBay Product ID (ePID)
999240

Product Key Features

Number of Pages
285 Pages
Language
English
Publication Name
Memory of Tiresias : Intertextuality and Film
Publication Year
1998
Subject
Film / General, Semiotics & Theory
Type
Textbook
Subject Area
Literary Criticism, Performing Arts
Author
Mikhail Iampolski
Format
Trade Paperback

Dimensions

Item Height
0.8 in
Item Weight
16 Oz
Item Length
9 in
Item Width
6 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
97-025664
TitleLeading
The
Table Of Content
ACKNOWLEDGEMENTS 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 INDEX
Synopsis
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 Bu uel, 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., 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.
LC Classification Number
97-25664

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