LEADER 03698nam 2200661 a 450 001 9910787317403321 005 20230803030752.0 010 $a0-8135-5450-0 024 7 $a10.36019/9780813554501 035 $a(CKB)2670000000397255 035 $a(EBL)1295122 035 $a(OCoLC)853363034 035 $a(SSID)ssj0000917757 035 $a(PQKBManifestationID)11576316 035 $a(PQKBTitleCode)TC0000917757 035 $a(PQKBWorkID)10894716 035 $a(PQKB)11339782 035 $a(MiAaPQ)EBC1295122 035 $a(OCoLC)867740379 035 $a(MdBmJHUP)muse18907 035 $a(DE-B1597)529721 035 $a(OCoLC)1014477236 035 $a(DE-B1597)9780813554501 035 $a(Au-PeEL)EBL1295122 035 $a(CaPaEBR)ebr10733852 035 $a(EXLCZ)992670000000397255 100 $a20120319d2013 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt 182 $cc 183 $acr 200 10$aBody double$b[electronic resource] $ethe author incarnate in the cinema /$fLucy Fischer 210 $aNew Brunswick, N.J. $cRutgers University Press$d2013 215 $a1 online resource (288 p.) 300 $aDescription based upon print version of record. 311 $a0-8135-5449-7 311 $a0-8135-5448-9 320 $aIncludes bibliographical references and index. 327 $aIntroduction: the screen author wanted: dead or alive -- Typecasting the author -- Beyond adaptation: the writer as filmmaker -- The author at the dream factory: the screenwriter and the movies -- The authoress: textuality as sexuality -- Writing pain: the infirm author -- Word and image -- Corpus and oeuvre: authorship and the body -- Stealing beauty: the reader, the critic, and the appropriation of the authorial voice -- Afterword: Signs and meaning in the cinema. 330 $aBody Double explores the myriad ways that film artists have represented the creative process. In this highly innovative work, Lucy Fischer draws on a neglected element of auteur studies to show that filmmakers frequently raise questions about the paradoxes of authorship by portraying the onscreen writer. Dealing with such varied topics as the icon of the typewriter, the case of the writer/director, the authoress, and the omnipresent infirm author, she probes the ways in which films can tell a plausible story while contemplating the conditions and theories of their making. By examining many forms of cinema, from Hollywood and the international art cinema to the avant-garde, Fischer considers the gender, age, and mental or physical health of fictionalized writers; the dramatized interaction between artists and their audiences and critics; and the formal play of written words and nonverbal images. By analyzing such movies as Adaptation,Diary of a Country Priest, Naked Lunch, American Splendor, and Irezumi, Fischer tracks the parallels between film author and character, looking not for the creative figure who stands outside the text, but for the one who stands within it as corporeal presence and alter-ego. 606 $aMotion picture authorship 606 $aAuteur theory (Motion pictures) 606 $aMotion pictures and literature 606 $aAuthors in motion pictures 615 0$aMotion picture authorship. 615 0$aAuteur theory (Motion pictures) 615 0$aMotion pictures and literature. 615 0$aAuthors in motion pictures. 676 $a791.43/657 700 $aFischer$b Lucy$0790858 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787317403321 996 $aBody double$91766748 997 $aUNINA