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In: Imaginary Films in Literature
In: Imaginary Films in Literature
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Abstract

This chapter aims to analyze the aesthetical construction of Werner Herzog’s cinema focussing on the continuity between the mythologies of the origin of human culture and those of cinematic vision, especially taking in consideration two films: Cave of Forgotten Dreams (2010) and Fata Morgana (1970). The analysis of the case studies will avoid to focus on a chronological perspective, but rather on an intertextual and meta-cinematic dimension. Both these films debate the origin of the humanity recurring to a reflection about the materialisation of the filmic image, referring to the Plato’s cave and the optical illusion of the mirage as two possible founding myth of the cinematographic vision.

In: Myths of Origins
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”.
In: Imaginary Films in Literature
In: Imaginary Films in Literature
In: Imaginary Films in Literature
In: Imaginary Films in Literature
In: Imaginary Films in Literature
In: Imaginary Films in Literature