LEADER 03909oam 22005894a 450 001 9910524676703321 005 20250704115933.0 010 $a0-253-05589-X 035 $a(CKB)5600000000001742 035 $a(OCoLC)1259583999 035 $a(MdBmJHUP)muse92526 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/88403 035 $a(oapen)doab88403 035 $a(EXLCZ)995600000000001742 100 $a20100315d1991 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBreaking the Frame /$fInez Hedges 210 $cIndiana University Press$d1991 210 1$aBloomington :$cIndiana University Press,$d1991. 210 4$dİ1991. 215 $a1 online resource (1 online resource xvi, 160 pages) $cillustrations 327 $aBreaking the frame : Zazie and film language -- Film writing and the poetics of silence -- Forms of representation in la Nuit de Varennes -- Truffaut and Cocteau : representations of Orpheus -- Mediated vision : women's subjectivity -- Women and film space -- Scripting children's minds : E.T. and the Wizard of Oz -- Myth of the perfect woman : cinema as machine celibataire. 330 $aRanging over the broad spectrum of contemporary literary and film theory, Breaking the Frame explores the different approaches to cinematic art that are offered by cognitive psychology, feminist theory, aesthetics, and psychoanalysis. In this study Inez Hedges looks closely at films that challenge accepted norms in both form and content. The films discussed here, including Zazie, La Nuit de Varennes, and E.T., break out of conventional frames, upsetting our expectations about how films should look (the film frame) as well as how experience is usually organized by cine- matic works of art (the psychological or cognitive frame). Hedges focuses on two primary areas: the way that the structure of film texts guides the interpretations of the spectator (hermeneutics) and the way that films reflect social models (representation). Within the hermeneutic approach, the author relates the unconventional use of film language in cinematic works of the 1960s and 1970s not only to the recent novels of Beckett and Queneau and to the French nouveau roman but also to one of the founding texts of Western literature, the Oedipus Rex of Sophocles. The discussion of representation exam- ines the social ascendancy of cinematic narrative in modern times in the light of the philosophical insights of Michel Foucault and Harold Bloom. Finally, contemporary feminist and psychoanalytic theories are brought to bear on cinematic representations of gender. Breaking the Frame will be of interest not only to scholars and students of film and literature but also to today's "filmliterate" public who enjoy exploring the theoretical and philosophical implications of cinematic works. 606 $aInterpretatie$2gtt 606 $aVertelkunst$2gtt 606 $aFilmkunst$2gtt 606 $aMotion pictures$xPhilosophy$2fast$3(OCoLC)fst01027348 606 $aMotion pictures and literature$2fast$3(OCoLC)fst01027410 606 $aMotion pictures$xPhilosophie 606 $aCinema et litterature 606 $aMotion pictures and literature 606 $aMotion pictures$xPhilosophy 615 10$aInterpretatie. 615 10$aVertelkunst. 615 10$aFilmkunst. 615 0$aMotion pictures$xPhilosophy. 615 0$aMotion pictures and literature. 615 0$aMotion pictures$xPhilosophie. 615 0$aCinema et litterature. 615 0$aMotion pictures and literature. 615 0$aMotion pictures$xPhilosophy. 700 $aHedges$b Inez$f1947-$01088357 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910524676703321 996 $aBreaking the Frame$92605784 997 $aUNINA