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Informationen zum Autor Laura Sava is a Lecturer in Film Studies in the School of Film and Television Arts at Xi'an Jiaotong-Liverpool University, China with a research focus on European cinema. She has published on the topic of film-theatre intermediality in the journals 'Screening the Past' and 'Excursions' and she is the author of several book chapters on related topics. Klappentext How do we experience theatre through film? Laura Sava critically engages with the filmic representation of theatre, focusing on a selection of art house and independent films which provide a sophisticated commentary on the interaction between the two media.Through an in-depth analysis of films such as Jacques Rivette's L'Amour fou, Pedro Almodóvar's All About My Mother and Charlie Kaufman's Synecdoche, New York, this book analyses the embedment of theatre in film and the notion of spectatorial address. Using textual analysis in conjunction with concepts derived from narratology, performance philosophy, and film and theatre phenomenology, it explores the mechanisms of representation involved in the intermedial diegetisation of theatre in film.Laura Sava holds a PhD in Film Studies from the University of Warwick, UK. She is a lecturer in the School of Film and Television Arts at Xi'an Jiaotong-Liverpool University, China, with a research focus on European cinema. Inhaltsverzeichnis Acknowledgments List of illustrations Introduction: Accommodating Difference: The Filmic Representation of Theatre Part I: Theatre, Interrupted: Strategies of Intermedial Embedment Chapter 1: No Strings Attached: Framing Puppets in Movement 1.1 The Double Life of Véronique and the Theatrical Mise en Abyme 1.2 Dolls: Theatrical Bracketing and Filmic Distortion Chapter 2: Theatre, Memory, and the Framing Voice 2.1. The Jester: Competing Voices in Alternating Scenes 2.2. All About My Mother: Filmic and Theatrical Repetitions Chapter 3: The Making and Unmaking of Theatre Rehearsals on Screen 3.1. Theatre in Multiple Frames: L'Amour fou and the Self-Defeating Rehearsal 3.2. Synecdoche, New York: Film and Theatre as Mutually Contaminating Worlds Part II: Divided Attention: Intermedial Performers and their Split Audience Chapter 4: Spectatorship by Proxy Meets Multimodal Performance 4.1. Subversive Performances and Sonic Perspectives in Opening Night 4.2. Conspicuous Camera and Utopian Spectatorship in A Tale of Winter 4.3. Exit the Actor: Restrained Performances and the View from the Wings in I'm Going Home Chapter 5: Cinematic Monologues and Their Spectatorial Address 5.1. The Travelling Players and the Historical Monologue 5.2. 'Something to do with living': My Dinner with André and the Ekphrastic Duologue 5.3. Spalding Gray and the Autobiographical Monologue 5.4. The Arbor and the Unreliable Monologue Epilogue Bibliography Index ...
