New PDF release: Bakhtin and the Movies: New Ways of Understanding Hollywood

By M. Flanagan

ISBN-10: 0230252044

ISBN-13: 9780230252042

ISBN-10: 1349300934

ISBN-13: 9781349300938

Martin Flanagan makes use of Bakhtin's notions of dialogism, chronotope and polyphony to handle primary questions about movie shape and reception, focussing rather at the manner cinematic narrative utilises time and house in its very building.

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Additional resources for Bakhtin and the Movies: New Ways of Understanding Hollywood Film

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Otherness’ is at the heart of the novel; like the dialogic word as described by Bakhtin, the novel exists ‘on the boundary between its own context and another, alien context’ (284), that is, a perceptual horizon that is not a direct referent of the text but which can enrich novelistic interpretation if applied to a reading. 147) which so exercise and engage Bakhtin will be introduced here is a cinematic one. This chapter will endeavour to provide some answers that might obviate a question that might be on the minds of some readers: why attempt the transfer of Bakhtin’s novelistic paradigm to film at all?

The spaces that exist between layers of signification in the film text, and the complex meaning processes that they accommodate, can sometimes be manipulated to support institutional authority in a way that delimits potential readings. 50). In this case, directorial intention is subverted by studio manipulation of one signifying mechanism over another, demonstrating the complex relationship that obtains between cinematic codes, and how shifting the internal dialogic stresses of codes can be used to enforce a monologic homogeneity.

18); the meaning event is apparently suspended between the moment that work on the production side finishes and the moment when the analyst starts to pick apart the (finalized, pre-formed) codes of the narrative. Furthermore, his overreliance on the linguistic metaphor leads to an extremely narrow conceptualization of what constitutes a ‘film’. 142), suggesting that both functions are irreplaceable and thus do not enter into competition with each other. Yet Blue (Derek Jarman, 1993), theatrically released and thus, in the eyes of the industry, a film, featured no film editing but rather a single, static image.

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Bakhtin and the Movies: New Ways of Understanding Hollywood Film by M. Flanagan

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