Proust At The Movies (studies In European Cultural Transition)

Film established itself as an artistic form of expression at the same time that Proust started work on his masterpiece, A la recherche du temps perdu. If Proust apparently took little interest in what he described as a poor avatar of reductive, mimetic representation, the resonances between his own radical reworking of writing styles and the novelistic forms, and cinema as the art of time are undeniable. Proust at the Movies is the first study in English to consider these rich interconnections. Its introductory chapter charts the missed encounter between Proust and the cinema and addresses the problems inherent in adapting his novel to the screen. The following chapters examine the various cinematic responses to A la recherche du temps perdu attempted to date: Luchino Visconti and Joseph Losey's failed attempts at adapting the whole of the novel in the 1970s, Volker Schlöndorff's Un Amour de Swann (1984), Raoul Ruiz's Le Temps retrouvé (1999), Chantal Akerman's La Prisonnière in La Captive (2000), and Fabio Carpi's Quartetto Basileus (1982) and Le Intermittenze del cuore (2003). The last chapter tracks the echoes of Proust's writing in the work of various directors, from Abel Grace to Jean-Luc Godard. The approach is multidisciplinary, combining literary criticism with film theory and elements of philosophy of art. Special attention is given to the modernist legacy in literature and film with its distinctive aesthetic and narrative features. An outline of the history and recent evolution of contemporary art cinema thus emerges: a cinema where the themes at the heart of Proust's work - memory, time, perception - are ceaselessly explored. Film Established Itself As An Artistic Form Of Expression At The Same Time That Proust Started Work On His Masterpiece, A La Recherche Du Temps Perdu. If Proust Apparently Took Little Interest In What He Described As A Poor Avatar Of Reductive, Mimetic Representation, The Resonances Between His Own Radical Reworking Of Writing Styles And The Novelistic Forms And Cinema As The Art Of Time Are Undeniable. Proust At The Movies Is The First Study In English To Consider These Rich Interconnections. Its Introductory Chapter Charts The Missed Encounter Between Proust And The Cinema And Addresses The Problems Inherent In Adapting His Novel To The Screen. The Following Chapters Examine The Various Cinematic Responses To A La Recherche Du Temps Perdu Attempted To Date. Luchino Visconti And Joseph Losey's Failed Attempts At Adapting The Whole Of The Novel In The 1970s, Volker Schlondorff's Un Amour De Swann (1984), Raoul Ruiz's Le Temps Retroure (1999). Chantal Akerman's La Captire (2000), And Fabio Carpi's Quartetto Basileus (1982) And Le Intermittenze Del Cuore (2003). The Last Chapter Tracks The Echoes Of Proust's Writing In The Work Of Various Directors, From Abel Gance To Jean-luc Godard.--jacket. 1. Proust And The Cinema -- 2. Cinema As Grand Narrative : Visconti's And Losey's Planned Adaptations Of A La Recherche Du Temps Perdu -- 3. Love Demystified : Volker Schlondorff's Un Amour De Swann -- 4. Surrealist Proust : Raoul Ruiz's Le Temps Retrouve -- 5. Filming Obsession : Chantal Akerman's La Captive -- 6. Beyond Adaptation : Fabio Carpi's Quartetto Basileus And Le Intermittenze Del Cuore -- 7. The Modernist Legacy. Martine Beugnet, Marion Schmid. Includes Bibliographical References (p. 246-255). Includes Filmography. "Film established itself as an artistic form of expression at the same time that Proust started work on his masterpiece, A la recherche du temps perdu. If Proust apparently took little interest in what he described as a poor avatar of reductive, mimetic representation, the resonances between his own radical reworking of writing styles and the novelistic forms, and cinema as the art of time are undeniable. Proust at the Movies is the first study in English to consider these rich interconnections. Its introductory chapter charts the missed encounter between Proust and the cinema and addresses the problems inherent in adapting his novel to the screen. The following chapters examine the various cinematic responses to A la recherche du temps perdu attempted to date: Luchino Visconti and Joseph Losey's failed attempts at adapting the whole of the novel in the 1970s, Volker Schlndorff's Un Amour de Swann (1984), Raoul Ruiz's Le Temps retrouvé (1999), Chantal Akerman's La Prisonnière in La Captive (2000), and Fabio Carpi's Quartetto Basileus (1982) and Le Intermittenze del cuore (2003). The last chapter tracks the echoes of Proust's writing in the work of various directors, from Abel Grace to Jean-Luc Godard. The approach is multidisciplinary, combining literary criticism with film theory and elements of philosophy of art. Special attention is given to the modernist legacy in literature and film with its distinctive aesthetic and narrative features. An outline of the history and recent evolution of contemporary art cinema thus emerges: a cinema where the themes at the heart of Proust's work - memory, time, perception - are ceaselessly explored."--Provided by publisher Cover Half Title Dedication Title Copyright Contents General Editors' Preface List of Plates Acknowledgements Introduction 1 Proust and the Cinema 2 Cinema as Grand Narrative: Visconti’s and Losey’s Planned Adaptations of A la recherche du temps perdu 3 Love Demystified: Volker Schlöndorff’s Un Amour de Swann 4 Surrealist Proust: Raoul Ruiz’s Le Temps retrouvé 5 Filming Obsession: Chantal Akerman’s La Captive 6 Beyond Adaptation: Fabio Carpi’s Quartetto Basileus and Le Intermittenze del cuore 7 The Modernist Legacy Conclusion Filmography and Bibliography Index