The Novel after Film: Modernism and the Decline of Autonomy
The Novel after Film: Modernism and the Decline of Autonomy
Assistant Professor
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Abstract
The Novel After Film examines how literary fiction has been redefined in response to the emergence of narrative film. It charts the institutional, stylistic, and conceptual relays that linked literary and cinematic cultures, and that fundamentally changed the nature and status of storytelling in the early twentieth century. In the cinema, a generation of modernist writers found a medium whose bad form was also laced with the glamour of the popular, and whose unfamiliar visual language seemed to harbor a future for innovative writing after modernism. As The Novel After Film demonstrates, this fascination with film was played out against the backdrop of a growing discourse about the novel’s respectability. As the modern novel was increasingly venerated as a genre of aesthetic refinement and high moral purpose, a range of authors, from Virginia Woolf and H. D. to Henry Green and Aldous Huxley, turned their attention to the cinema in search of alternative aesthetic histories. For authors working in modernism’s atmosphere of heightened formal sophistication, film’s violations of style took on a perverse attraction. In this way, film played a key role in changing the way that novelists addressed a transforming public culture which could seem at moments to be leaving the novel behind.
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Front Matter
- Introduction: The Novel after Film
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1
Fables of Detachment: Film and the Deflation of Modernist Form
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2
Out of Character: Virginia Woolf and the Lightness of the Novel
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3
Out of Focus: H. D.’ S Multiple Eyes
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4
Out of Reach: Henry Green and the Infinitely Remote
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5
Out of Time: Aldous Huxley and the Extinction of the Novel
- Epilogue: Hideous Furniture
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End Matter
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