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Écrire avec les genres populaires du cinéma : des effets de la transposition du film noir et du western sur le roman contemporain
| Resumo: | This article considers the tropism of the contemporary novel towards cinema through the prism of filmic genres, focusing on the transpositions of the Western and film noir in a corpus of French and Anglo-Saxon novels published from the late 1990s onwards (Martin Amis, Robert Coover, Christine Montalbetti, Tanguy Viel). In the light of the theory of intermediality (Louvel, 2010, 2014) and studies of cinematic genericity (Altman, 1992), I consider the issues of these intermedial transpositions. If today’s novelists reappropriate filmic conventions of the past, in particular the codes of 1930-1960s Hollywood cinema, it is because they provide ingredients such as typical characters and action scenes, allowing to “renarrativise” (Kibédi-Varga, 1990) the novel. The filmic devices are the the object of an ambiguous rewriting, which highlights the hackneyed nature of film genres or subjects them to a carnivalesque treatment (Bakhtine, 1970), while paying a nostalgic tribute to these legendary modeles. |
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| Assunto: | roman contemporain intermediality genre filmique contemporary novel intermédialité film genre film noir western |
| País: | Portugal |
| Tipo de documento: | journal article |
| Tipo de acesso: | Aberto |
| Instituição associada: | Carnets, Revista Electrónica de Estudos Franceses |
| Idioma: | francês |
| Origem: | Carnets, Revista Electrónica de Estudos Franceses |
| Resumo: | This article considers the tropism of the contemporary novel towards cinema through the prism of filmic genres, focusing on the transpositions of the Western and film noir in a corpus of French and Anglo-Saxon novels published from the late 1990s onwards (Martin Amis, Robert Coover, Christine Montalbetti, Tanguy Viel). In the light of the theory of intermediality (Louvel, 2010, 2014) and studies of cinematic genericity (Altman, 1992), I consider the issues of these intermedial transpositions. If today’s novelists reappropriate filmic conventions of the past, in particular the codes of 1930-1960s Hollywood cinema, it is because they provide ingredients such as typical characters and action scenes, allowing to “renarrativise” (Kibédi-Varga, 1990) the novel. The filmic devices are the the object of an ambiguous rewriting, which highlights the hackneyed nature of film genres or subjects them to a carnivalesque treatment (Bakhtine, 1970), while paying a nostalgic tribute to these legendary modeles. |
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