By Robert Stam, Alessandra Raengo

A spouse to Literature in movie provides cutting-edge examine on global literature, movie, and the complicated theoretical courting among them. 25 essays by way of foreign specialists hide an important subject matters within the learn of literature and movie diversifications.

* Covers a wide selection of issues, together with cultural, thematic, theoretical, and style concerns
* Discusses movie diversifications from the delivery of cinema to the current day
* Explores a various variety of titles and genres, together with movie noir, biblical epics, and Italian and chinese language cinema

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Extra resources for A Companion to Literature and Film (Blackwell Companions in Cultural Studies)

Sample text

Yet Griffith does not credit the illustrations of these books. The standard version of film history89 traces a progression from single-shot scenes filming whole bodies with static cameras to multiple-shot scenes combining shots of various sizes at various angles filmed with both static and moving cameras. It argues that montage within and between scenes differentiates film from static visual arts and forms a pictorial equivalent of verbal language, as in the novel. While most of the illustrations for Vanity Fair depict characters from head to toe, after theater and portrait conventions, as do the earliest films, some illustrations create montage sequences within a chapter.

Mitchell has brought the space–time continuum to bear on the temporal/ spatial dichotomy. See E. H. Gombrich, “Moment and Movement in Art,” Journal of Warburg and Courtauld Institutes 27 (1964) and “Meditations on a Hobby Horse,” in Meditations on a Hobby Horse and Other Essays on the Theory of Art (London: Phaidon, 1963); Murray Krieger, “The Ekphrastic Principle and the Still Movement of Poetry; or Laokoon Revisited,” in The Play and Place of Criticism (Baltimore, MD: The Johns Hopkins University Press, 1976); W.

Pp. 218, 1–64. E. H. Gombrich, for example, contests the naturalness of the visual sign and advances the temporality of painting, Murray Krieger propounds the spatiality of literary representation, while W. J. T. Mitchell has brought the space–time continuum to bear on the temporal/ spatial dichotomy. See E. H. Gombrich, “Moment and Movement in Art,” Journal of Warburg and Courtauld Institutes 27 (1964) and “Meditations on a Hobby Horse,” in Meditations on a Hobby Horse and Other Essays on the Theory of Art (London: Phaidon, 1963); Murray Krieger, “The Ekphrastic Principle and the Still Movement of Poetry; or Laokoon Revisited,” in The Play and Place of Criticism (Baltimore, MD: The Johns Hopkins University Press, 1976); W.

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