Montage as perceptual experience: Berlin Alexanderplatz from Döblin to Fassbinder
Alfred Döblin's novel Berlin Alexanderplatz and its film adaptations by Jutzi and Fassbinder are canonical works of literature and cinema, and yet there is no monograph that treats all three. This omission is even more striking since Döblin's novel is seen as the most famous example of lit...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
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Rochester, N.Y.
Camden House, 2017
2017
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| Schriftenreihe: | Screen cultures
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| Zusammenfassung: | Alfred Döblin's novel Berlin Alexanderplatz and its film adaptations by Jutzi and Fassbinder are canonical works of literature and cinema, and yet there is no monograph that treats all three. This omission is even more striking since Döblin's novel is seen as the most famous example of literary appropriation of film montage aesthetics. Mario Slugan addresses this glaring oversight by considering montage in experiential, historic, stylistic, and narratological terms. Starting from the novel argument that montage is best understood as a perceptual experience rather than as a juxtaposition of meaning, Slugan proposes that it was the perceived experiential similarity with Dada photomontage and Soviet montage films rather than any juxtaposition of meaning that made contemporary critics identify Berlin Alexanderplatz as the first novel to appropriate film montage. It was the perceived relative absence of montage in the filmings of the novel, moreover, that significantly contributed to their contemporary dismissals as failed adaptations. Slugan argues that both Jutzi's and Fassbinder's films nevertheless present innovative types of both visual and sound montage. These, in turn, allow for the articulation of medium-specific traits of film montage as opposed to those of literary montage, including the organization of time and space, the use of ready-made material, and the relation of montage to the figure of the narrator. Mario Slugan is a Postdoctoral Associate Fellow at the Department of Film and Television Studies and the Department of German Studies, University of Warwick |
| Beschreibung: | Title from publisher's bibliographic system (viewed on 18 Sep 2018) Introduction -- The art of montage in the age of hyperstimulation -- The birth of literary montage from the spirit of contemporary reviews of Berlin Alexanderplatz -- Montage practice: the redemption of Jutzi's Berlin Alexanderplatz -- Fassbinder's Berlin Alexanderplatz, symphony of an invisible city -- Conclusion |
| Beschreibung: | 1 Online-Ressource (viii, 244 Seiten) |
| ISBN: | 9781787441040 |
| DOI: | 10.1017/9781787441040 |
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| 520 | |a Alfred Döblin's novel Berlin Alexanderplatz and its film adaptations by Jutzi and Fassbinder are canonical works of literature and cinema, and yet there is no monograph that treats all three. This omission is even more striking since Döblin's novel is seen as the most famous example of literary appropriation of film montage aesthetics. Mario Slugan addresses this glaring oversight by considering montage in experiential, historic, stylistic, and narratological terms. Starting from the novel argument that montage is best understood as a perceptual experience rather than as a juxtaposition of meaning, Slugan proposes that it was the perceived experiential similarity with Dada photomontage and Soviet montage films rather than any juxtaposition of meaning that made contemporary critics identify Berlin Alexanderplatz as the first novel to appropriate film montage. It was the perceived relative absence of montage in the filmings of the novel, moreover, that significantly contributed to their contemporary dismissals as failed adaptations. Slugan argues that both Jutzi's and Fassbinder's films nevertheless present innovative types of both visual and sound montage. These, in turn, allow for the articulation of medium-specific traits of film montage as opposed to those of literary montage, including the organization of time and space, the use of ready-made material, and the relation of montage to the figure of the narrator. Mario Slugan is a Postdoctoral Associate Fellow at the Department of Film and Television Studies and the Department of German Studies, University of Warwick | ||
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| spelling | Slugan, Mario 1983- Verfasser (DE-588)1141393441 aut Montage as perceptual experience Berlin Alexanderplatz from Döblin to Fassbinder Mario Slugan Rochester, N.Y. Camden House, 2017 2017 1 Online-Ressource (viii, 244 Seiten) txt rdacontent c rdamedia cr rdacarrier Screen cultures Title from publisher's bibliographic system (viewed on 18 Sep 2018) Introduction -- The art of montage in the age of hyperstimulation -- The birth of literary montage from the spirit of contemporary reviews of Berlin Alexanderplatz -- Montage practice: the redemption of Jutzi's Berlin Alexanderplatz -- Fassbinder's Berlin Alexanderplatz, symphony of an invisible city -- Conclusion Alfred Döblin's novel Berlin Alexanderplatz and its film adaptations by Jutzi and Fassbinder are canonical works of literature and cinema, and yet there is no monograph that treats all three. This omission is even more striking since Döblin's novel is seen as the most famous example of literary appropriation of film montage aesthetics. Mario Slugan addresses this glaring oversight by considering montage in experiential, historic, stylistic, and narratological terms. Starting from the novel argument that montage is best understood as a perceptual experience rather than as a juxtaposition of meaning, Slugan proposes that it was the perceived experiential similarity with Dada photomontage and Soviet montage films rather than any juxtaposition of meaning that made contemporary critics identify Berlin Alexanderplatz as the first novel to appropriate film montage. It was the perceived relative absence of montage in the filmings of the novel, moreover, that significantly contributed to their contemporary dismissals as failed adaptations. Slugan argues that both Jutzi's and Fassbinder's films nevertheless present innovative types of both visual and sound montage. These, in turn, allow for the articulation of medium-specific traits of film montage as opposed to those of literary montage, including the organization of time and space, the use of ready-made material, and the relation of montage to the figure of the narrator. Mario Slugan is a Postdoctoral Associate Fellow at the Department of Film and Television Studies and the Department of German Studies, University of Warwick Döblin, Alfred / 1878-1957 / Berlin Alexanderplatz Döblin, Alfred / 1878-1957 / Film adapatations Jutzi, Piel / Criticism and interpretation Fassbinder, Rainer Werner / 1945-1982 / Criticism and interpretation Berlin Alexanderplatz (Motion picture) Berlin Alexanderplatz (Television program) Berlin Alexanderplatz Fernsehsendung 1980 (DE-588)4287540-7 gnd rswk-swf Montage Berlin Alexanderplatz Fernsehsendung 1980 (DE-588)4287540-7 u DE-604 Erscheint auch als Druck-Ausgabe 978-1-640-14005-9 (DE-604)BV044632055 https://doi.org/10.1017/9781787441040 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Slugan, Mario 1983- Montage as perceptual experience Berlin Alexanderplatz from Döblin to Fassbinder Döblin, Alfred / 1878-1957 / Berlin Alexanderplatz Döblin, Alfred / 1878-1957 / Film adapatations Jutzi, Piel / Criticism and interpretation Fassbinder, Rainer Werner / 1945-1982 / Criticism and interpretation Berlin Alexanderplatz (Motion picture) Berlin Alexanderplatz (Television program) Berlin Alexanderplatz Fernsehsendung 1980 (DE-588)4287540-7 gnd Montage |
| subject_GND | (DE-588)4287540-7 |
| title | Montage as perceptual experience Berlin Alexanderplatz from Döblin to Fassbinder |
| title_auth | Montage as perceptual experience Berlin Alexanderplatz from Döblin to Fassbinder |
| title_exact_search | Montage as perceptual experience Berlin Alexanderplatz from Döblin to Fassbinder |
| title_full | Montage as perceptual experience Berlin Alexanderplatz from Döblin to Fassbinder Mario Slugan |
| title_fullStr | Montage as perceptual experience Berlin Alexanderplatz from Döblin to Fassbinder Mario Slugan |
| title_full_unstemmed | Montage as perceptual experience Berlin Alexanderplatz from Döblin to Fassbinder Mario Slugan |
| title_short | Montage as perceptual experience |
| title_sort | montage as perceptual experience berlin alexanderplatz from doblin to fassbinder |
| title_sub | Berlin Alexanderplatz from Döblin to Fassbinder |
| topic | Döblin, Alfred / 1878-1957 / Berlin Alexanderplatz Döblin, Alfred / 1878-1957 / Film adapatations Jutzi, Piel / Criticism and interpretation Fassbinder, Rainer Werner / 1945-1982 / Criticism and interpretation Berlin Alexanderplatz (Motion picture) Berlin Alexanderplatz (Television program) Berlin Alexanderplatz Fernsehsendung 1980 (DE-588)4287540-7 gnd Montage |
| topic_facet | Döblin, Alfred / 1878-1957 / Berlin Alexanderplatz Döblin, Alfred / 1878-1957 / Film adapatations Jutzi, Piel / Criticism and interpretation Fassbinder, Rainer Werner / 1945-1982 / Criticism and interpretation Berlin Alexanderplatz (Motion picture) Berlin Alexanderplatz (Television program) Berlin Alexanderplatz Fernsehsendung 1980 Montage |
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