DOCSLIB.ORG

Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table of Contents TABLE OF CONTENTS INTRODUCTION ............................................................................................................................ 4 APPROACHING CHARLIE KAUFMAN ......................................................................................... 7 Kaufman’s Postmodern Art Manifesto ........................................................................................ 7 Kaufman Mixing Fact & Fiction .................................................................................................. 10 The Philosophical Kaufman: The Connectedness ..................................................................... 13 Desire in the Scope of Kaufman‘s Works................................................................................... 14 Narrative Desire ..................................................................................................................... 14 The Desires of Kaufman‘s Characters.................................................................................... 17 The Honest Kaufman and his Desire for Authenticity ............................................................. 18 Desire and Freud‘s Life and Death Instinct ............................................................................ 20 Kaufman Summed Up ............................................................................................................... 22 Tasteful Branding or a Revival of the Author? – The Cultural Identity of Charlie Kaufman .. 23 Pertinent Paratexts .................................................................................................................... 26 THE POSTMODERN WORLD AND INDIVIDUAL ........................................................................ 33 The Postmodern Condition ........................................................................................................ 33 On the Horizon of Simulation ..................................................................................................... 37 Between Reality and Fiction: Metafiction .................................................................................. 42 Parody and the ‘Unfamiliar’ ........................................................................................................ 47 Adaptation ................................................................................................................................... 52 The Postmodern Individual ........................................................................................................ 56 Identity Construction and Performativity .................................................................................... 58 EXISTENTIAL FREEDOM AND HUMAN INTERRELATIONS ..................................................... 63 Choosing Your Life ..................................................................................................................... 63 1 The Relationship to the Other .................................................................................................... 67 ANALYSIS OF SYNECDOCHE, NEW YORK .............................................................................. 72 Caden’s Perception .................................................................................................................... 72 Caden‘s Reality ......................................................................................................................... 72 Caden‘s Perception of Time & Death ..................................................................................... 73 Caden‘s Absurd Experiences ................................................................................................. 79 Caden‘s Absurd Transformation and Performativity ............................................................... 85 The Mediated Caden ................................................................................................................. 87 Caden on TV .......................................................................................................................... 88 Caden on the Stage ............................................................................................................... 96 Parody of Identity Discourses .................................................................................................... 99 Parody of Professionals ........................................................................................................... 100 Parody of Art and the Artist ..................................................................................................... 105 Interrelations in SNY ................................................................................................................. 111 Caden's Relationships ............................................................................................................. 111 Connectedness ....................................................................................................................... 117 KAUFMAN’S POSTMODERN POETICS ................................................................................... 124 BIBLIOGRAPHY ........................................................................................................................ 130 ANSVARSLISTE ........................................................................................................................ 136 SUMMARY OF 'CONSTRUCTING CHARLIE KAUFMAN – A STUDY OF CHARLIE KAUFMAN'S POSTMODERN POETICS' ................................................................................... 138 APPENDIX 1: SUMMARY OF SYNECDOCHE, NEW YORK ..................................................... 140 APPENDIX 2: ‘THE FUNERAL SCENE’ .................................................................................... 142 2 Institut for sprog og kultur | Aalborg Universitet Master Thesis 2009 ”Constructing Charlie Kaufman” - A Study of Kaufman’s Postmodern Poetics Supervisor: Bent Sørensen Keystrokes: 334,548 Kristina Nørremark Lisa R. F. Kristensen _____________________ _______________________ 3 INTRODUCTION Film critics have characterized screenwriter and film director Charlie Kaufman with various labels such as ‗American Eccentric‘, ‗the New Fantastic‘ and ‗anarchist‘ which all attempt to group together independent, contemporary American writers and filmmakers. Derek Hill along with several other critics place Charlie Kaufman within the context of directors such as Richard Linklater, David O. Russell, Wes Anderson, Spike Jonze, Sofia Coppola and Michel Gondry, and Hill discusses whether or not these filmmakers form ‗An American New Wave‘ (Hill 2008: 11-36). While the mentioned directors do not have a common manifesto, which links them together, the American New Wave films do share several unifying trends and themes: ―Highly idiosyncratic yet intricately realised, accessible yet willing to overthrow the constraints of formal storytelling, surreal yet always grounded in human emotions, this new breed of American film captures the angst of its characters and the times in which we live, but with a wryness, imagination, earnestness, irony, and stylish wit that makes the slide into existential despair a little more amusing than it should be.― (Ibid.: 35) Although it might be true that the filmmakers share these themes, they are, however, also considered independent, and it becomes somewhat arbitrary to place them within one specific movement. Repeatedly, Kaufman rejects being labeled as belonging to one specific school, genre or style. It is, however, obvious that Kaufman has a unique voice and style both as screenwriter and director as evident from his works. In this way, Kaufman creates a specific artistic identity as unconventional within the Hollywood industry. Due to this, he holds an exclusive position as screenwriter since he is credited as the maker of the film1 – a position otherwise reserved for the director. This attests to the strong Kaufmanesque voice which makes him an interesting artist and therefore the focus of this thesis. Kaufman‘s new film Synecdoche, New York is his directorial debut which, however, has not won the same recognition as his earlier films such as Being John Malkovich, Eternal Sunshine of the Spotless Mind and Adaptation. Nevertheless, SNY2 testifies to Kaufman‘s specific style and adds to the idea that Kaufman has a specific artistic agenda as pointed out by his consistent focus on and discussion of the role of the artist and the process of creating art. This process becomes allegorical to the process of constructing and performing one‘s reality and self manifested through SNY‘s main character Caden Cotard‘s massive play, which is an in-the-moment dramatization of his own life. Also the one- to-one play on Caden‘s life, taking place on a set which is an exact replica of a part of New 1 In 2004 Kaufman shared an Academy Award with Michel Gondry and Pierre Bismuth for the screenplay of Eternal Sunshine of the Spotless Mind. 2 We will refer to Synecdoche, New York as SNY throughout this thesis. 4 York, illustrates the synecdoche-theme3, which of course is pointed out by the title of the film. The synecdoche theme functions on many levels as for instance in the discussion of the relationship between individual and the world and art and reality. Kaufman discusses the role of authenticity through Caden‘s desire for creating an authentic, original and honest piece of art, ideals which Caden strives towards in his life in general. Caden‘s never-ending struggle to
Load more

Recommended publications
  • Genesis and Development of Stylistic Devices Classifications
    Philology Matters Volume 2020 Issue 3 Article 6 9-20-2020 GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS Feruza Khajieva Associate professor (PhD), Department of English Literature Bukhara State University, Bukhara, Uzbekistan Follow this and additional works at: https://uzjournals.edu.uz/philolm Part of the English Language and Literature Commons, Language Interpretation and Translation Commons, Linguistics Commons, Other Languages, Societies, and Cultures Commons, and the Reading and Language Commons Recommended Citation Khajieva, Feruza Associate professor (PhD), Department of English Literature (2020) "GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS," Philology Matters: Vol. 2020 : Iss. 3 , Article 6. DOI: 10. 36078/987654447 Available at: https://uzjournals.edu.uz/philolm/vol2020/iss3/6 This Article is brought to you for free and open access by 2030 Uzbekistan Research Online. It has been accepted for inclusion in Philology Matters by an authorized editor of 2030 Uzbekistan Research Online. For more information, please contact [email protected]. Khajieva: GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS Philology Matters / ISSN: 1994-4233 2020 Vol. 33 No. 3 LINGUISTICS ФМ Uzbek State World Languages University DOI: 10. 36078/987654447 Feruza Khajieva Феруза Ҳожиева Associate professor (PhD), Department of English Бухоро давлат университети, Инглиз адабиёти Literature, Bukhara State University кафедраси доценти, филология фанлари бўйича фалсафа доктори GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES СТИЛИСТИК ВОСИТАЛАР ТАСНИФ- CLASSIFICATIONS ЛАРИ ГЕНЕЗИСИ ВА ТАДРИЖИ ANNOTATION АННОТАЦИЯ Тhe article discusses the problem of a stylistic Мақолада стилистик воситалар муаммо- device, its innate features and the literary, си, жумладан, уларнинг табиати ҳамда ва ба- aesthetic, imagery functions, the example to диий-эстетик, образлилик вазифалари таҳлил stylistic convergence is also given.
    [Show full text]
  • Sundance Institute Presents Institute Sundance U.S
    1 Check website or mobile app for full description and content information. description app for full Check website or mobile #sundance • sundance.org/festival sundance.org/festival Sundance Institute Presents Institute Sundance The U.S. Dramatic Competition Films As You Are The Birth of a Nation U.S. Dramatic Competition Dramatic U.S. Many of these films have not yet been rated by the Motion Picture Association of America. Read the full descriptions online and choose responsibly. Films are generally followed by a Q&A with the director and selected members of the cast and crew. All films are shown in 35mm, DCP, or HDCAM. Special thanks to Dolby Laboratories, Inc., for its support of our U.S.A., 2016, 110 min., color U.S.A., 2016, 117 min., color digital cinema projection. As You Are is a telling and retelling of a Set against the antebellum South, this story relationship between three teenagers as it follows Nat Turner, a literate slave and traces the course of their friendship through preacher whose financially strained owner, PROGRAMMERS a construction of disparate memories Samuel Turner, accepts an offer to use prompted by a police investigation. Nat’s preaching to subdue unruly slaves. Director, Associate Programmers Sundance Film Festival Lauren Cioffi, Adam Montgomery, After witnessing countless atrocities against 2 John Cooper Harry Vaughn fellow slaves, Nat devises a plan to lead his DIRECTOR: Miles Joris-Peyrafitte people to freedom. Director of Programming Shorts Programmers SCREENWRITERS: Miles Joris-Peyrafitte, Trevor Groth Dilcia Barrera, Emily Doe, Madison Harrison Ernesto Foronda, Jon Korn, PRINCIPAL CAST: Owen Campbell, DIRECTOR/SCREENWRITER: Nate Parker Senior Programmers Katie Metcalfe, Lisa Ogdie, Charlie Heaton, Amandla Stenberg, PRINCIPAL CAST: Nate Parker, David Courier, Shari Frilot, Adam Piron, Mike Plante, Kim Yutani, John Scurti, Scott Cohen, Armie Hammer, Aja Naomi King, Caroline Libresco, John Nein, Landon Zakheim Mary Stuart Masterson Jackie Earle Haley, Gabrielle Union, Mike Plante, Charlie Reff, Kim Yutani Mark Boone Jr.
    [Show full text]
  • Greenberg (2011)
    Greenberg (2011) “You like me so much more than you think you do.” Major Credits: Director: Noah Baumbach Screenplay: Noah Baumbach, from a story by Baumbach and Jennifer Jason Leigh Cinematography: Harris Savides Music: James Murphy Principal Cast: Ben Stiller (Roger Greenberg), Greta Gerwig (Florence), Rhys Ifans (Ivan), Jennifer Jason Leigh (Beth) Production Background: Baumbach, the son of two prominent New York writers whose divorce he chronicled in his earlier feature The Squid and the Whale (2005), co-wrote the screenplay with his then-wife, Jennifer Jason Leigh, who plays the role of Greenberg’s former girlfriend. His friend and sometime collaborator (they wrote The Life Aquatic with Steve Zissou together), Wes Anderson, co-produced Greenberg with Leigh. Most of Baumbach’s films to date deal with characters who are disappointed in their lives, which do not conform to their ideal conceptions of themselves. At whatever age—a father in his 40s, his pretentious teenage son (The Squid and the Whale), a college graduate in her late twenties (Frances Ha, 2012)—they struggle to act like grownups. The casting of Greta Gerwig developed into an enduring romantic and creative partnership: Gerwig co-wrote and starred in his next two films, Frances Ha and Mistress America (2015). You can read about Baumbach and Gerwig in Ian Parker’s fine article published in New Yorker, April 29, 2013. Cinematic Qualities: 1. Screenplay: Like the work of one of his favorite filmmakers, Woody Allen, Baumbach’s dramedy combines literate observation (“All the men dress up as children and the children dress as superheroes”) and bitter commentary (“Life is wasted on… people”) with poignant confession (“It’s huge to finally embrace the life you never planned on”).
    [Show full text]
  • Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
    Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX.
    [Show full text]
  • Lexical Stylistic Devices and Literary Terms of Figurative Language
    International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-8, Issue-3S, October 2019 Lexical Stylistic Devices and Literary Terms of Figurative Language Saidova Mukhayyo Umedilloevna Abstract: The degree of study and significance of lexical II. MATERIALS AND METHODS literary devices are carried out in the given article. The essential aspects of lexical devices and information about numerous The scientific and practical studies about linguistic terms methods of investigating and studying them are discussed. are based on ideas of Akhmanova (1966, 1990), Vasileva Terms belonged to the lexical level of the language and the (1998), Gwishiani (1986, 1990), Golovin (1976), Kulikova analyses of lexical devices given by several dictionaries of (2002), Petrosyants (2004), Podolskaya (1988), Slyusarova literary terms and sources are explained in the article. In this (1983, 2000), Shelov (1998) and others. In recent years, article we would like to refer to different approaches on study of studies on linguistic terms have been published and we can literary terms of figurative language, more preciously on lexical see these studies on Roman language terminology in works of stylistic devices. There are many types of figurative language, including literary devices such Nikulina (1990), Utkina (2001), Emelyanova (2000), as simile, metaphor, personification and many others. The Vermeer (1971), Zakharenkova (1999), German (1990), definition of figurative language is opposite to that of literal Golovkina (1996) [6, 11-41]. language, which involves only the “proper” or dictionary If we pay close attention to the aforesaid studies, we can definitions of words. Figurative language usually requires the see that literary terms which is the object of our research reader or listener to understand some extra nuances, context and project has been studied relatively rarely in Slovenian, allusions in order to understand the second meaning.
    [Show full text]
  • Rebooting Roseanne: Feminist Voice Across Decades
    Home > Vol 21, No 5 (2018) > Ford Rebooting Roseanne: Feminist Voice across Decades Jessica Ford In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016- present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast and/or setting. “Revivals” and “remakes” both seek to capitalise on nostalgia for a specific notion of the past and access the (presumed) existing audience of the earlier series (Mittell; Rebecca Williams; Johnson). Reboots operate around two key pleasures. First, there is the pleasure of revisiting and/or reimagining characters that are “known” to audiences. Whether continuations or remakes, reboots are invested in the audience’s desire to see familiar characters. Second, there is the desire to “fix” and/or recuperate an earlier series. Some reboots, such as the Charmed remake attempt to recuperate the whiteness of the original series, whereas others such as Gilmore Girls: A Life in the Year (2017) set out to fix the ending of the original series by giving audiences a new “official” conclusion. The Roseanne reboot is invested in both these pleasures. It reunites the original cast for a short-lived, but impactful nine-episode tenth season.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • Film Culture in Transition
    FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book.
    [Show full text]
  • January 11, 2021 the Ledger News
    FREE EVERY MONDAY VOL. 25 ISS. 13 • JANUARY 11 2021 THETACOMALEDGER.COM theUniversity of Washington ledger Tacoma HOW TO HAVE A QUARANTINE BIRTHDAY P7 2 JANUARY 11, 2021 THE LEDGER NEWS PHOTO BY NICKOLUS PATRASZEWSKI As temperatures drop and COVID cases rise, UWT remains as engaging as ever After three quarters of remote learning, UWT faculty and organizations are still finding new ways to keep students involved. BY GARRETT YAEN clubs don’t all have to be goofing off than just studying. water bottles, but t-shirts and water interesting for everybody. NEWS EDITOR and playing games. The Accounting “It wasn’t all just studying,” Hansen bottles aren’t the only rewards students Moreover, Hansen wants students Students Association helps its members said. “They started out with games and can win. Rewards can come through to know that COVID doesn’t have to In contrast to the silence of the gain knowledge on the accounting in- then they gave out some prizes. The non-tangible forms like new friends. spoil your college experience. physical campus, the community of dustry by contacting professionals. last hour or so was people just sitting In another recent development, “The biggest things we want people UW Tacoma roars through its virtual “The Accounting Students Asso- there studying and recreating that feel- Hansen said the upcoming Virtual to know are that programs are still club meetings, study sessions, volun- ciation brought people in from differ- ing of being with other people while Involvement Fair may face a video happening,” she said. “Yes, they look teering opportunities and food as- ent accounting firms who answered they were preparing for finals.” game-like makeover.
    [Show full text]
  • Confessions of a Dangerous Mind
    CONFESSIONS OF A DANGEROUS MIND a screenplay by Charlie Kaufman based on CONFESSIONS OF A DANGEROUS MIND an unauthorized biography by Chuck Barris third draft (revised) May 5, 1998 MUSIC IN: OMINOUS ORCHESTRAL TEXT, WHITE ON BLACK: This film is a reenactment of actual events. It is based on Mr. Barris's private journals, public records, and hundreds of hours of taped interviews. FADE IN: EXT. NYC STREET - NIGHT SUBTITLE: NEW YORK CITY, FALL 1981 It's raining. A cab speeds down a dark, bumpy side-street. INT. CAB - CONTINUOUS Looking in his rearview mirror, the cab driver checks out his passenger: a sweaty young man in a gold blazer with a "P" insignia over his breast pocket. Several paper bags on the back seat hedge him in. The young man is immersed in the scrawled list he clutches in his hand. A passing street light momentarily illuminates the list and we glimpse a few of the entries: double-coated waterproof fuse (500 feet); .38 ammo (hollowpoint configuration); potato chips (Lays). GONG SHOW An excerpt from The Gong Show (reenacted). The video image fills the screen. We watch a fat man recite Hamlet, punctuating his soliloquy with loud belching noises. The audience is booing. Eventually the man gets gonged. Chuck Barris, age 50, hat pulled over his eyes, dances out from the wings to comfort the agitated performer. PERFORMER Why'd they do that? I wasn't done. BARRIS (AGE 50) I don't understand. Juice, why'd you gong this nice man? JAYE P. MORGAN Not to be. That is the answer.
    [Show full text]
  • Osu1199254932.Pdf (640.26
    FROM MUSE TO MILITANT: FRANCOPHONE WOMEN NOVELISTS AND SURREALIST AESTHETICS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mary Anne Harsh, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Danielle Marx-Scouras, Advisor Professor Karlis Racevskis ______________________________ Advisor Professor Sabra Webber French and Italian Graduate Program ABSTRACT In 1924, André Breton launched the Surrealist movement in France with his publication of Manifeste du surréalisme. He and his group of mostly male disciples, prompted by the horrors of World War I, searched for fresh formulas for depicting the bizarre and inhumane events of the era and for reviving the arts in Europe, notably by experimenting with innovative practices which included probing the unconscious mind. Women, if they had a role, were viewed as muses or performed only ancillary responsibilities in the movement. Their participation was usually in the graphic arts rather than in literature. However, in later generations, francophone women writers such as Joyce Mansour and Suzanne Césaire began to develop Surrealist strategies for enacting their own subjectivity and promoting their political agendas. Aside from casual mention, no critic has formally investigated the surreal practices of this sizeable company of francophone women authors. I examine the literary production of seven women from three geographic regions in order to document the enduring capacity of surrealist practice to express human experience in the postcolonial and postmodern era. From the Maghreb I analyze La Grotte éclatée by Yamina Mechakra and L'amour, la fantasia by Assia Djebar, and from Lebanon, L'Excisée by Evelyne Accad.
    [Show full text]
  • A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012)
    Copyright by Taehyun Cho 2014 The Thesis Committee for Taehyun Cho Certifies that this is the approved version of the following thesis: A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) APPROVED BY SUPERVISING COMMITTEE: Supervisor: Charles R. Berg Thomas G. Schatz A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) by Taehyun Cho, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication To my family who teaches me love. Acknowledgements I would like to give special thanks to my advisor, Professor Berg, for his intellectual guidance and warm support throughout my graduate years. I am also grateful to my thesis committee, Professor Schatz, for providing professional insights as a scholar to advance my work. v Abstract A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989-2012) Taehyun Cho, M.A. The University of Texas at Austin, 2014 Supervisor: Charles R. Berg Although many scholars attempted to define and categorize alternative narratives, a new trend in narrative that has proliferated at the turn of the 21st century, there is no consensus. To understand recent alternative narrative films more comprehensively, another approach using a new perspective may be required. This study used hypertextuality as a new criterion to examine the strategies of alternative narratives, as well as the hypernarrative structure and characteristics in alternative narratives. Using the six types of linkage patterns (linear, hierarchy, hypercube, directed acyclic graph, clumped, and arbitrary links), this study analyzed six recent American fiction films (between 1989 and 2012) that best represent each linkage pattern.
    [Show full text]