The concept of intertextuality has proven of inestimable value in recent attempts to understand the nature of literature and its relation to other systems of cultural meaning. In qThe Memory of Tiresias, q Mikhail Iamposlki presents the first sustained attempt to develop a theory of cinematic intertextuality. Building on the insights of semiotics and contemporary film theory, Iampolski defines cinema as a chain of transparent, mimetic fragments intermixed with quotations he calls qtextual anomalies.q These challenge the normalization of meaning and seek to open reading out onto the unlimited field of cultural history, which is understood in texts as a semiotically active extract, already inscribed. Quotations obstruct mimesis and are consequently transformed in the process of semiosis, an operation that Iampolski defines as reading in an aura of enigma. In a series of brilliant analyses of films by D.W. Griffith, Sergei Eisenstein, and Luis Bu uel, he presents different strategies of intertextual reading in their work. His book suggests the continuing centrality of semiotic analysis and is certain to interest film historians and theorists, as well as readers in cultural and literary studies.Home, Sweet Home contains a flood of correspondence, but, with one exception, these letters are never materialized on the screen as written text. ... indirectly, through persistent iconographic representations, such as a view of a ship at sea placed within an interior, or musical ... The young man from the East returns the gesture with a gift that is no less surprising: he gives Mary his own glasses a anotheranbsp;...
|Title||:||The Memory of Tiresias|
|Publisher||:||Univ of California Press - 1998|