Time Regained: World Literature and Cinema

Description

Over the past 30 years, the fields of world literature and world cinema have developed on parallel but largely separate tracks, with little recognition of their underlying similarities and the ways that each can learn from the other. Time Regained does not move from literature to cinema, but exists simultaneously in both fields. The 7 filmmakers selected here, Andrei Tarkovsky, Akira Kurosawa, Martin Scorsese, Raúl Ruíz, Wong Kar Wai, Stephen Daldry, and Paolo Sorrentino, are themselves also writers or people with literary training, and they produce a new type of world cinema thanks to their understanding of the world simultaneously through literature and film. In the process, their films produce new readings of literary texts that world literature studies wouldnt have been able to achieve with its own instruments. Time Regained examines how filmmakers build on literature to reconfigure the world as a landscape of dreams and how they use film to reinvent the narrative techniques of the authors on whom they draw. The selected filmmakers draw inspiration from French surrealists, modernists Marcel Proust, Virginia Woolf, and Marguerite Yourcenar, and predecessors such as Dante and Cao Xueqin. In the process, these filmmakers cross the borders between film and literature, nation and world, dream and reality. Cover Halftitle page Title page Copyright page Dedication CONTENTS ILLUSTRATIONS Color Plates ACKNOWLEDGMENTS Introduction The Fabric of Dreams André Bazin’s Mixed Cinema Redefining Reality Surrealism is Born at the Movies: Méliès and Breton 1 From Automaton to Movie Camera Méliès, Selznick, Scorsese Films are Dreams Made Real: The Avant-garde Origins of an Idea Seen from the Moon: In My Mind’s Eye Voyeurism and Cinematic Imagination: Proust, Méliès, Scorsese Ghosts inside Objects: The Automaton as Filming Camera Beyond Méliès’s Lunar Landscapes 2 The Vast Structure of Recollection Tarkovsky, Proust, Yourcenar The Camera’s Magic Mirror, a Corridor in Time The Cryptogram Reality 3 In That Sleep of Death What Dreams May Come Van Gogh, Kurosawa, Yourcenar From Wang Foo to Wang-Fô From Wang-Fô to Van Gogh Kurosawa and Painting A Walk through a Gallery Kurosawa’s Proustian Van Gogh The Vast Chiastic Structure of Recollection 4 The Dark Hollow at the Back of the Head Woolf and Daldry The Chiastic Architecture of The Hours Woolf’s Novel as Poetry: Revolutionizing the Self and Time The Fourth Character in The Hours: Philip Glass’s Music The Musical Rhythm of Editing Windows in the Fabric of Time 5 In the Paradise of Trapdoors Proust, André Breton, and Raúl Ruiz Adoption, not Adaptation Opening and Closing: The Stone Book The Miracle and Demon of Analogy The Film, a Surrealist Object-being Made of Multiple Selves The Theatre of Memory What’s in a Name? That which We Call a Rose Gilberte, Albertine, Albertinage, Libertinage The Trapdoor of a Word Top Hats as Phantom-objects The Self, an Abandoned Quarry 6 Dream of the Red Chamber 2046 Cao Xueqin and Wong Kar-wai The Secret Story of In the Mood for Love and 2046 The Chiastic Construction of 2046 and the Memory of Time From Cao Xueqin to Andrei Tarkovsky From the Zone to the Hotel-train The Dream of Chamber 2046 The Book of Tears 7 Let This Novel Begin Sorrentino and Proust Proust via Céline: The Imaginary Character of Life The Museum of Memory “Whom I haunt:” Marcel Proust The Sea Inside In the Paradise of Phantoms The Disappearing Giraffe Meeting Oriane de Guermantes / Fanny Ardant . . . and the World shall be saved by Beauty Conclusion The Art of Time Regained: To Be Continued BIBLIOGRAPHY INDEX Plates