Since the mid-1990s, a number of films from international filmmakers have experimented with increasingly complicated narrative strategies-including such hits as Run, Lola, Run, 21 Grams, and Memento. This book sets those films and others in context with earlier works that tried new narrative approaches, including Stage Fright and Hiroshima, Mon Amour, to show how they reveal the limitations of most of our usual tools for analysing film. In light of that, Steffen Hven argues for the deployment of an 'embodied' reconfiguration of the cinematic experience, one that allows us to rethink such core constituents of narrative understanding as cognition, emotion, and affect.
- Cover
- Table of Contents
- I. Introduction
- II. Cinema in the Interstices
- Introduction
- Cinema and its two Temporal Modes
- The Cognitive Fabula and Linear Storytelling
- Film-Philosophy and the Challenge of Contemporary Cinema
- III. Narrative Ambiguity in the Classical Cinema
- Introduction
- Narrative Transgression in Stage Fright
- Defamiliarization and Beyond
- IV. Modern(ist) Cinema: Logic of the Encounter
- Introduction
- Cinema and the Modern
- Hiroshima mon amour – A Cinematic Love Affair
- V. Towards the Embodied Fabula
- Introduction
- Towards an Embodied and Enactive Approach to Cognition
- Embodying the Narrative Experience
- VI. The Complexity of Complex Narratives
- Introduction
- 21 Grams – How Much Does Life Weigh?
- The Fabula and the ‘Decomplexification’ of the Narrative Continuum
- A Problematic Combination: Classical Narratology and Complexity Theory
- ‘Forking Paths’ – Complex Storytelling in Lola rennt
- Are Forking Paths Linear?
- Embracing the Narrative Rhythm of Lola rennt
- VII. Memento and the Embodied Fabula
- Introduction
- Realism and Constructivism: A Narratological Deadlock
- The Defamiliarization of Narrative Perception
- VIII. Conclusions
- The Embodied Fabula and Beyond
- Bibliography
- Notes
- Acknowledgments
- Index
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