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Heteronymity II: Taxonomies of Fictional Creativity: Joyce (continued) and Stein

Max Saunders

in Self Impression: Life-Writing, Autobiografiction, and the Forms of Modern Literature

Published in print:
2010
Published Online:
May 2010
ISBN:
9780199579761
eISBN:
9780191722882
Item type:
chapter
Publisher:
Oxford University Press
DOI:
10.1093/acprof:oso/9780199579761.003.0009
Subject:
Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism

This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It ... More


Through the Looking Glass: Chabrol’s Mirrors and the ‘Crystal-image’

Catherine Dousteyssier-Khoze

in Claude Chabrol's Aesthetics of Opacity

Published in print:
2018
Published Online:
September 2018
ISBN:
9780748692606
eISBN:
9781474444651
Item type:
chapter
Publisher:
Edinburgh University Press
DOI:
10.3366/edinburgh/9780748692606.003.0007
Subject:
Film, Television and Radio, Film

In close conversation with the previous chapter, Deleuze’s concept of ‘crystal-image’ is used here to explore various reflexive structures and show how pivotal they are to the construction of an ... More


Claude Chabrol's Aesthetics of Opacity

Catherine Dousteyssier-Khoze

Published in print:
2018
Published Online:
September 2018
ISBN:
9780748692606
eISBN:
9781474444651
Item type:
book
Publisher:
Edinburgh University Press
DOI:
10.3366/edinburgh/9780748692606.001.0001
Subject:
Film, Television and Radio, Film

Chabrol's cinema, which started (with) the Nouvelle Vague, is generally associated with a type of psychological thriller, set in the French provinces and marked by a fascination with evil, incest, ... More


“Exposing the Apparatus”

Christian Metz

in "Impersonal Enunciation, or the Place of Film"

Published in print:
2016
Published Online:
September 2016
ISBN:
9780231173674
eISBN:
9780231540643
Item type:
chapter
Publisher:
Columbia University Press
DOI:
10.7312/columbia/9780231173674.003.0007
Subject:
Film, Television and Radio, Film

A film, even when it is free of ideology, cannot make the product and its mode of production coincide within itself, rather only the product and the mise-en-abyme of its process.


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