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Books on the topic 'Narration in the Fiction Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Bordwell, David. Narration in the fiction film. Madison, WI: University of Wisconsin Press, 1985.

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2

Bordwell, David. Narration in the fiction film. London: Routledge, 1988.

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3

Narration in the fiction film. London: Routledge, 1988.

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Narration in the fiction film. Madison, Wis: University of Wisconsin Press, 1985.

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5

Narrative in fiction and film: An introduction. Oxford: Oxford University Press, 2000.

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6

Kozloff, Sarah. Invisible storytellers: Voice-over narration in American fiction film. Berkeley: Univ.California P., 1988.

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7

Invisible storytellers: Voice-over narration in American fiction film. Berkeley: University of California Press, 1988.

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8

Lothe, Jakob. Fiksjon og film: Narrativ teori og analyse. Oslo: Universitetsforlaget, 1994.

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9

Make believe in film and fiction: Visual vs. verbal storytelling. New York: Palgrave Macmillan, 2006.

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10

Seeing fictions in film: The epistemology of movies. Oxford: Oxford University Press, 2011.

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11

Semiotics of narration in film and prose fiction: Case studies of "Scarecrow" and "My friend Ivan Lapshin". New York: P. Lang, 1994.

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12

Chatman, Seymour Benjamin. Coming to terms: The rhetoric of narrative in fiction and film. Ithaca, N.Y: Cornell University Press, 1990.

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13

Narrative's journey: The fiction and film writing of Dorothy Richardson. New York: P. Lang, 1996.

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14

L' œil-caméra: Entre film et roman. Lyon: Presses universitaires de Lyon, 1987.

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15

National fictions: Literature, film, and the construction of Australian narrative. 2nd ed. St Leonards, NSW: Allen & Unwin, 1993.

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16

National fictions: Literature, film, and the construction of Australian narrative. Sydney: Allen & Unwin, 1986.

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17

Jost, Franc ʹois. L' oeil-came ra: Entre film et roman. 2nd ed. Lyon: Presses Universitaires de Lyon, 1989.

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18

Alber, Jan. Narrating the prison: Role and representation in Charles Dickens's novels, twentieth-century fiction, and film. Youngstown, N.Y: Cambria Press, 2007.

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19

Alber, Jan. Narrating the prison: Role and representation in Charles Dickens's novels, twentieth-century fiction, and film. Youngstown, N.Y: Cambria Press, 2008.

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20

Keen, Suzanne. Narrative form. New York: Palgrave Macmillan, 2003.

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21

Vittorini, Fabio. Narrativa USA: 1984-2014 : romanzi, film, graphic novel, serie tv, videogame e altro. Quarto inferiore - Bologna: Pàtron editore, 2015.

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22

Narrative pleasures in young adult novels, films, and video games. New York: Palgrave Macmillan, 2011.

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23

Spanish film and the postwar novel: Reading and watching narrative texts. Westport, Conn: Praeger, 2002.

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24

Garwood, Ian. The sense of film narration. Edinburgh, [Scotland]: Edinburgh University Press, 2015.

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25

The models of space, time and vision in V. Nabokov's fiction: Narrative strategies and cultural frames. Tartu: Tartu University Press, 2006.

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26

Bragaglia, Cristina. Il piacere del racconto: Narrativa italiana e cinema, 1895-1990. Scandicci, Firenze: Nuova Italia, 1993.

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27

Screen language: From film writing to film-making. London: Methuen, 2001.

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28

Cinquegrani, Alessandro, Francesca Pangallo, and Federico Rigamonti. Romance e Shoah Pratiche di narrazione sulla tragedia indicibile. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-492-9.

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Abstract:

Over the last 70 years, Holocaust representations increased significantly as cultural objects distributed on a large scale: fictional books, museum sites, artworks, documentaries, and films are only a few samples of those echoes the Holocaust produced in contemporary Western culture. There are some specific patterns in the way the Holocaust has been represented that, however, contrast with the survivors’ account of the same event: for example, the dichotomy between bad and good characters so essential within Holocaust-based media – especially on television and film - does not really match with the testimony’s experience. While storytelling strategies may help to involve the public by emotionally engaging with the story, the risks of altering the real meaning of the Holocaust are quite high: what we often label as a “story” is actually been an outrageous, documented mass-genocide. Furthermore, as the age gap between the present and the past generation progresses, also the collective awareness of Nazi crimes as a real fact gets compromised. This volume explores selected Holocaust narrations by contextualizing the historical, literary, and social influences those texts had in their unique points of view. Starting with some recent examples of Holocaust exploitation through social media, the first chapter explores the paradigm shift when the Holocaust became a cultural, fictional trend rather than a historical massacre. In the second chapter, the analysis examines postmodern representations of Holocaust and Nazi semantics through relevant examples taken from both American and European literature. The third chapter analyses Europe Central by William T. Vollman, as all the narratological and cultural issues considered in the previous two chapters are well outlined in this articulated novel, where the relationship between reality and its representation after the postmodernist period is largely investigated. In chapter four, an account is given of the connections and differences between the narratological category romance, as understood by Northrop Frye, and Holocaust narration features. In chapter five, those elements are used to consider the work of Italian Holocaust survivor and Jewish writer Primo Levi, as his narration around Auschwitz adopts some fictional tools and still refuses undemanding storytelling mechanisms. The sixth and final chapter examines the relevant novel Les Benviellants by Jonathan Littell, considering its Nazi genocide account through the antagonist’s perspective.

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29

Christian, Metz. L' énonciation impersonnelle, ou, Le site du film. Paris: Méridiens Klincksieck, 1991.

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30

Film: Narration & seduction : a new European-American scriptwriting model. Copenhagen: Frydenlund, 2007.

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31

Narrative comprehension and film. London: Routledge, 1992.

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32

Der phantastische Film: Instabile Narrationen und die Narration der Instabilität. Berlin: De Gruyter, 2010.

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33

Pinkas, Claudia. Der phantastische Film: Instabile Narrationen und die Narration der Instabilität. Berlin: De Gruyter, 2010.

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34

Cinema and semiotic: Peirce and film aesthetics, narration, and representation. Toronto: University of Toronto Press, 2005.

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35

Narrative Strukturen in Literatur und Film: Schilten ein Roman von Hermann Burger : Schilten ein Film von Beat Kuert. Bern: P. Lang, 1991.

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36

Bach, Michaela. Erzählperspektive im Film: Eine erzähltheroetische [sic] Untersuchung mithilfe exemplarischer Filmanalysen. Essen: Item-Verlag, 1997.

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37

Suckfüll, Monika. Film erleben: Narrative Strukturen und physiologische Prozesse, "Das Piano" von Jane Campion. Berlin: Edition Sigma, 1997.

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38

Narration in the Fiction Film. Taylor & Francis Group, 2015.

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39

Narration in the Fiction Film. Taylor & Francis Group, 1986.

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40

Bordwell, David. Narration in the Fiction Film. Routledge, 2013. http://dx.doi.org/10.4324/9781315002163.

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41

Bordwell, David. Narration in the Fictional Film. Methuen Publishing Ltd, 1987.

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42

Kozloff, Sarah. Invisible Storytellers: Voice-Over Narration in American Fiction Film. University of California Press, 1989.

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43

Scruggs, Bert Mittchell. Translingual Narration: Colonial and Postcolonial Taiwanese Fiction and Film. University of Hawaii Press, 2015.

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44

Kozloff, Sarah. Invisible Storytellers: Voice-Over Narration in American Fiction Film. University of California Press, 1989.

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45

Translingual Narration: Colonial and Postcolonial Taiwanese Fiction and Film. University of Hawaii Press, 2015.

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46

Kozloff, Sarah. Invisible Storytellers: Voice-Over Narration in American Fiction Film. University of California Press, 1989.

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47

Hawthorn, Jeremy. Reader As Peeping Tom: Nonreciprocal Gazing in Narrative Fiction and Film. Ohio State University Press, 2014.

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48

M, Wilson George. Seeing Fictions in Film: The Epistemology of Movies. Oxford University Press, 2013.

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49

Rascaroli, Laura. Narration. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0007.

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Abstract:

This chapter reappraises the connections between narration and argumentation. It contests the claim that narrative is merely a fictional layer superimposed on the nonfictional content (and, by extension, the true essence) of the essay film. The work examined in this chapter explores some of the ways in which narration can give expression to argumentation. The essay form is inherently fragile, with a particular potential for disassemblage. The chapter focuses on epistolarity as a disjunctive narrative form marked by distance and by absence and on the counternarrative aspects of lyricism, based on its tendency to fragmentation, allusiveness, metaphoricity, formalism, and affectivity. Two long-standing traditions are addressed, the epistolary essay via an engagement with Lettres de Panduranga (Letters from Panduranga, 2015) by Nguyễn Trinh Thi and the lyric essay via a study of The Idea of North (1995) by Rebecca Baron.

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50

LA Narracion En El Cine De Ficcion / Narration in the Fiction Film (Comunicacion Cine / Communication Cinema). Ediciones Paidos Iberica, 2003.

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