LEADER 03615nam 2200661 a 450 001 996248237103316 005 20221107215751.0 010 $a0-585-22844-2 010 $a0-520-91472-4 024 7 $a2027/heb08188 035 $a(CKB)111057870445258 035 $a(dli)HEB08188 035 $a(SSID)ssj0000201141 035 $a(PQKBManifestationID)12024017 035 $a(PQKBTitleCode)TC0000201141 035 $a(PQKBWorkID)10231842 035 $a(PQKB)10104380 035 $a(MiU)MIU01000000000000009642539 035 $a(DE-B1597)648680 035 $a(DE-B1597)9780520914728 035 $a(EXLCZ)99111057870445258 100 $a19990118d1998 ub 0 101 0 $aeng 135 $aurmnummmmuuuu 181 $ctxt 182 $cc 183 $acr 200 14$aThe memory of Tiresias $eintertextuality and film /$fMikhail Iampolski ; translated by Harsha Ram 210 $aBerkeley $cUniversity of California Press$dc1998 215 $a1 online resource (326 p. ) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-520-08530-2 311 $a0-520-08529-9 320 $aIncludes bibliographical references (p. 283-299) and index. 327 $aCinema and the theory of intertextuality -- Repressing the source : D.W. Griffith and Browning -- Intertextuality and the evolution of cinematic language : Griffith and the poetic tradition -- Cinematic language as quotation : Cendrars and Léger -- Intertext against intertext : Buñuel and Dali's Un chien andalou -- The hero as an "Intertextual body" : Iurii Tynianov's Lieutenant Kizhe -- The invisible text as a universal equivalent : Sergei Eisenstein. 330 $aThe concept of intertextuality has proven of inestimable value in recent attempts to understand the nature of literature and its relation to other systems of cultural meaning. In The Memory of Tiresias, Mikhail Iamposlki presents the first sustained attempt to develop a theory of cinematic intertextuality.Building on the insights of semiotics and contemporary film theory, Iampolski defines cinema as a chain of transparent, mimetic fragments intermixed with "ations he calls "textual anomalies." These challenge the normalization of meaning and seek to open reading out onto the unlimited field of cultural history, which is understood in texts as a semiotically active extract, already inscribed.Quotations obstruct mimesis and are consequently transformed in the process of semiosis, an operation that Iampolski defines as reading in an aura of enigma. In a series of brilliant analyses of films by D.W. Griffith, Sergei Eisenstein, and Luis Buñuel, he presents different strategies of intertextual reading in their work. His book suggests the continuing centrality of semiotic analysis and is certain to interest film historians and theorists, as well as readers in cultural and literary studies. 606 $aMotion pictures 606 $aIntertextuality 606 $aMotion pictures 606 $aIntertextuality 606 $aFilm$2HILCC 606 $aMusic, Dance, Drama & Film$2HILCC 615 0$aMotion pictures. 615 0$aIntertextuality. 615 0$aMotion pictures 615 0$aIntertextuality 615 7$aFilm 615 7$aMusic, Dance, Drama & Film 676 $a791.43/01/5 700 $aI?Ampol?ski?$b M. B$01016128 702 $aëIìAmpol§skiæi$b M. B 712 02$aAmerican Council of Learned Societies. 801 0$bNyNyACL 801 1$bNyNyACL 906 $aBOOK 912 $a996248237103316 996 $aThe memory of Tiresias$92376195 997 $aUNISA