Since cinema is a composite language, describing a movie is a complex challenge for critics and writers, and greatly differs from the ancient and successful genre of the
ekphrasis, the literary description of a visual work of art.
Imaginary Films in Literature deals with a specific and significant case within this broad category: the description of imaginary, non-existent movies – a practice that is more widespread than one might expect, especially in North American postmodern fiction. Along with theoretical contributions, the book includes the analyses of some case studies focusing on the borders between the visual and the literary, intermedial practices of hybridization, the limits of representation, and other related notions such as “memory”, “fragmentation”, “desire”, “genre”, “authorship”, and “censorship”.
Stefano Ercolino, Ph.D. (2013), University of L’Aquila, is Assistant Professor of Comparative Literature at Underwood International College, Yonsei University (Seoul, Korea). He is the author of
The Novel-Essay, 1884-1947 (Palgrave Macmillan, 2014) and
The Maximalist Novel: From Thomas Pynchon’s “Gravity’s Rainbow” to Roberto Bolaño’s “2666” (Bloomsbury, 2014; Bompiani, 2015).
Massimo Fusillo, Ph.D. (1987), University of Calabria, is Professor of Comparative Literature at the University of L’Aquila (Italy), and member of the Executive Council of the International Association of Comparative Literature. He is the author of
Estetica della letteratura, (Il Mulino, 2009; Machado, 2012) and
Feticci (Il Mulino, 2012; Champion, 2014).
Mirko Lino, Ph.D. (2010), University of L’Aquila, is Adjunct Professor of Film History and Literary Criticism at the University of L'Aquila (Italy) and Research Affiliate in Cinema and Media Studies at the University of Palermo (Italy). He has published the monograph
L’apocalisse postmoderna tra letteratura e cinema: Catastrofi, oggetti, metropoli, corpi (Le Lettere, 2014).
Luca Zenobi, Ph.D. (2004), University of Pisa, is Assistant Professor of German at the University of L’Aquila (Italy). Among his most recent publications,
La natura e l’arte: Interpretazione del reale ed estetica della libertà nel pensiero di Diderot e Schiller (ETS, 2005), and
Faust: Il mito dalla tradizione orale al post-pop (Carocci, 2013).
Table of contents
Notes on Contributors
The Aesthetics of Imaginary Films Notes Toward a Theory of Cinematic “Ekphrasis”
James A. W. Heffernan
The Killing Vision: David Foster Wallace’s
Infinite Jest Stefano Ercolino
Hybridizations “Writing The Making Of”: A New Literary Genre?
“A Film Run in Installments”: Memory and Cinema in Tom McCarthy’s
Remainder Vincenzo Maggitti
Towards Other Worlds, Towards Other Meanings: Screenplays on the Edge of the Plot
Paul Auster, Hector Mann and
The Book of Illusions Anna Scannavini
Mañana en la batalla piensa en mí: Cinema, Theatre, Television and the Creative Force of the Word
Failed Cinema “Quo Vadis – Kino?” Kurt Pinthus and the Theoretical Debate on the Birth of Cinema in Germany
The Outer Life of Martin Frost, or Never Make an Imaginary Film
On Conceiving (and Sometimes Not Succeeding in Making) a Film
The Politics of Imaginary Films The “Quasi-Truth”. Literature and Cinema in Starnone and Piccolo
Breakfast at the Prater. Christopher Isherwood, His Women and Men
Gian Piero Piretto
The Technological Imagery Alpdrücken and the Spectrum of Power in
Gravity’s Rainbow by Thomas Pynchon
Pattern Recognition: The “Postcinema” Seen by William Gibson
Literary scholars and critics, students in Comparative Literature, Cultural Studies, and Visual Studies programs worldwide.