BUCH
Temporality in American Filmic Autobiography
Cinema, Automediality and Grammatology with ‘Film Portrait’ and ‘Joyce at 34’
American Studies – A Monograph Series, Bd. 187
2018
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Bibliografische Daten
Abstract
Drawing on grammatology, historical semantics and discourse theory, ‘Temporality in American Filmic Autobiography’ treats automediality in semiotic materiality and transmediality as processuality and relationality of agency at an intersection of auto/biography studies, film studies and media studies, reviews concepts of time in philosophy, sociology, cinema studies and narratology, and applies critical vocabularies of temporality and temporalization in an extended analysis of two classics of 1970s American filmic autobiography, ‘Film Portrait’ by Jerome Hill and ‘Joyce at 34’ by Joyce Chopra and Claudia Weill. The study of film, time and self-processing develops the grammatology of cinema from contemporary positions on cinematic semiosis, temporality, and contingency, filmic and postfilmic cinema, documentary-style film, deixis across media, and the trace as critical vocabulary. Among supplementary tables, a chapter offers an overview of the canonization and transnationalization of cinematic autobiography in anglophone research.
Inhaltsverzeichnis
| Zwischenüberschrift | Seite | Aktion | Preis |
|---|---|---|---|
| Cover | Cover | ||
| Titel | iii | ||
| Imprint | iv | ||
| Contents | vii | ||
| Acknowledgements | xi | ||
| Preface | xv | ||
| List of Tables and Figures | xxi | ||
| 1 World Provenance of Cinematic Autobiography in Selected Anglophone Research of 1977 to 2014 | 122 | ||
| 2 Provenance by Country of Cinematic Autobiography by Decade in Selected Anglophone Research of 1977 to 2014 (Synopsis of Table 1) | 452 | ||
| 3 Cinema and Selected Time Vocabularies (Synopsis) | 173 | ||
| 4 A-Series vs. B-Series after John M.E. McTaggart (Gell1992, 157) | 191 | ||
| 5 Synopsis of Data on Segment Durations in Selected Filmic Autobiographies | 414 | ||
| 6 Segment Durations in Selected Filmic Autobiographies | 415 | ||
| 1 Two Cameras in „Playing the Part“ (Film Still) | 443 | ||
| 2 Mounted Photograph in „Playing the Part“ (Film Still) | 443 | ||
| 3 Scratched and Perforated Film in „Dog Star Man“ (1961–1964) (Film Still) | 443 | ||
| 4 Infant Sarah at the Editing Table with Her Mother in „Joyce at 34“ (Film Still) | 443 | ||
| 5 Infant Sarah Fed by Her Father at Work with a Screenwriting Collaborator in „Joyce at 34“ (Film Still) | 443 | ||
| 6 to 9 Weill Negotiating Participants, Camera, Microphone and Airport Walk in „Joyce at 34“ (Film Stills) | 444 | ||
| 10 Hill with Oakes and Camera on Tripod at Cassis in1950 in „Film Portrait“ (Film Still) | 445 | ||
| 11 Hill with Oakes and Camera on Tripod at Cassis in 1970 in „Film Portrait“ (Film Still) | 445 | ||
| 12 to 14 Stairway at Cassis in 1930, 1950 and 1970 in „Film Portrait“ (Film Stills) | 445 | ||
| 15 Train at La Ciotat Station in 1895 from the Lumières’ „L’Arrivée d´un Train à La Ciotat“ quoted in „Film Portrait“ (Film Still) | 446 | ||
| 16 Train at La Ciotat Station in 1970 in „Film Portrait“ (Film Still) | xxii | ||
| 17 Segments of Nine of the Filmmaker’s Films with Simultaneous Movement by Split-Screen Device in „Film Portrait“ (Film Still) | 446 | ||
| 18 The Filmmaker at the Editing Table in „Film Portrait“(Film Still) | 447 | ||
| 19 „A Scholar in His Study (‘Faust’)“, Etching by Rembrandt,c. 1652, The Metropolitan Museum of Art, New York, Online Catalogue (Photographic Reproduction) | 447 | ||
| 20 Superimposition of Image of Etching by Rembrandt and Image of Filmmaker at Editing Table in „Film Portrait“(Film Still) | 447 | ||
| 21 Completed Transformation into the Filmmaker at the Editing Table in „Film Portrait“ (Film Still) | 447 | ||
| 22 Sarah Pushing the Chair in „Joyce at 34“ (Film Still) | 448 | ||
| 23 Seder Ceremony in „Joyce at 34“ (Film Still) | 448 | ||
| 24 Protagonist in Nightgown before Mirror in „Joyce at 34“ (Film Still) | 448 | ||
| 25 Protagonist Musing on a Couch in „Joyce at 34“ (FilmStill) | 448 | ||
| 26 Protagonist on a Filming Location in „Joyce at 34“ (FilmStill) | 448 | ||
| 27 Double Female Gaze after Keyssar in „Joyce at 34“ (Film Still) | 448 | ||
| 28 Chopra and Cole (left) after Birth of Sarah Rose Cole (Held by Obstetrician) in „Joyce at 34“ (Film Still) | 449 | ||
| 29 Animated Collage Sequence of View Through Train Window in „Film Portrait“ (Film Still) | 449 | ||
| 30 Hand-Colored Image of Water Whirl Used for Reverse Motion in „Film Portrait“ (Film Still) | 449 | ||
| 31 to 34 Mirror Scenes in „Sherman’s March, Playing the Part, Blackstar“, and the Genre-Critical „David Holzman’s Diary“ with Camera Reflected in Mirror (Film Stills) | 450 | ||
| 35 Mirror Scene with Image of Mother and Newborn in „Film Portrait“ (Film Still) | 451 | ||
| 36 Color Negative Perspectival Complications of Shavingin Front of an Invisible Mirror in „Film Portrait“: Image of Filmmaker Shaving before the Mirror/Camera (Film Still) | 451 | ||
| 37 Color Negative Perspectival Complications of Shavingin Front of an Invisible Mirror in „Film Portrait“: Camera behind the Filmmaker at Bathroom Sink (FilmStill) | 451 | ||
| 38 Table 2: Provenance by Country of Cinematic Autobiography by Decade in Selected Anglophone Researchof 1977 to 2014 (Synopsis of Table 1) | 452 | ||
| 39 World Provenance of Cinematic Autobiography by Decade in Selected Anglophone Research of 1977 to2014 (Graph) | 454 | ||
| 40 World Provenance of Cinematic Autobiography by Decade in Selected Anglophone Research of 1977 to2014 (Map) | 455 | ||
| 41 Provenance in Europe of Cinematic Autobiography by Decade in Selected Anglophone Research of 1977 to2014 (Map) | 456 | ||
| 42 Average Segment Duration in Seconds in U.S. American Fiction Films between 1955 and 2005 (Baxter2014, 6) (Graph) | 457 | ||
| I Automediality, Transmediality, Transnationality | 1 | ||
| I.1 From Autobiography to Automediality | 2 | ||
| I.2 Filmic Autobiography | 59 | ||
| I.3 Canonization and Transnationalization | 121 | ||
| II Cinema and Time | 167 | ||
| II.1 Philosophical and Sociological Time Vocabularies | 175 | ||
| II.2 Cinema and Time Vocabularies | 202 | ||
| II.3 Narrative and Narratological Time Vocabularies | 260 | ||
| III Temporality in „Film Portrait and Joyce at 34“ | 295 | ||
| III.1 Temporalities of Social Convention | 306 | ||
| III.2 Narrative Temporalities | 340 | ||
| III.3 Poetical and Rhetorical Chronofigurations | 385 | ||
| Conclusion | 431 | ||
| Color Plates | 443 | ||
| Works Cited | 459 | ||
| Index of Films | 491 | ||
| Index of Names | 499 | ||
| Backcover | 511 |
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