Theatre through the camera eye : the poetics of an intermedial encounter

## Closely examines instances of theatre-in-film, in dialogue with the theory of intermediality How do we experience theatre through film? Laura Sava critically engages with the filmic representation of theatre, focusing on a selection of art house and independent films which provide a sophisticated commentary on the interaction between the two media. Through an in-depth analysis of films such as Jacques Rivette’s __L’Amour fou__, Pedro Almodóvar’s __All About My Mother__ and Charlie Kaufman’s __Synecdoche, New York__, this book analyses the embedment of theatre in film and the notion of spectatorial address. Using textual analysis in conjunction with concepts derived from narratology, performance philosophy, and film and theatre phenomenology, it explores the mechanisms of representation involved in the intermedial diegetisation of theatre in film. ## Key features * Provides a detailed study of the ways in which film can accommodate theatre * Integrates the close reading of films with the theory of intermediality, with insights from both film and theatre theory * Includes case studies of works by major directors, such as Pedro Almodóvar, John Cassavetes, Jacques Rivette, Eric Rohmer, Manoel de Oliveira, Theo Angelopoulos and Takeshi Kitano ## Case studies include: - The Double Life of Véronique (Krzysztof Kieślowski, 1991) - Dolls (Takeshi Kitano, 2002) - The Jester (José Álvaro Morais, 1987) - All About My Mother (Pedro Almodóvar, 1999) - L’Amour fou (Jacques Rivette, 1969) - Synecdoche, New York (Charlie Kaufman, 2008) - Opening Night (John Cassavetes, 1977) - A Tale of Winter (Eric Rohmer, 1992) - I’m Going Home (Manoel de Oliveira, 2001) - The Travelling Players (Theo Angelopoulos, 1975) - My Dinner with André (Louis Malle, 1981) - Swimming to Cambodia (Jonathan Demme, 1987) - Monster in a Box (Nick Broomfield, 1992) - The Arbor (Clio Barnard, 2010)