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Style in NarrativeAspects of an Affective-Cognitive Stylistics$
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Patrick Colm Hogan

Print publication date: 2020

Print ISBN-13: 9780197539576

Published to Oxford Scholarship Online: December 2020

DOI: 10.1093/oso/9780197539576.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 06 December 2021

Perceptual Interface and Painterly Cinema

Perceptual Interface and Painterly Cinema

Three Minutes of Robert Rodriguez’s Sin City

Chapter:
(p.157) 5 Perceptual Interface and Painterly Cinema
Source:
Style in Narrative
Author(s):

Patrick Colm Hogan

Publisher:
Oxford University Press
DOI:10.1093/oso/9780197539576.003.0006

The fifth chapter of Style in Narrative in part parallels the second chapter, but with a shift from literature to cinema. Specifically, it takes genre as its scope, though it considers genre in visual representation, rather than story structure. Moreover, in this case, it focuses on an unusual genre, one that is not widely identified as a genre—painterly films, which is to say, films that draw their visual models from non-cinematic forms of visual art. The chapter presents an account of the kinds and functions of painterly film, ranging from mere allusion through imitation of a period or movement, to the cultivation of broader sensitivities characteristic of painting beyond a specific period. This chapter considers works by Luis Buñuel, Éric Rohmer, Deepa Mehta, and M. F. Husain. It focuses particularly on Robert Rodriguez’s remediation of graphic fiction, in part to prepare the way for the treatment of graphic fiction later in the book.

Keywords:   cinema, Deepa Mehta, Éric Rohmer, graphic fiction, M. F. Husain, painting, Robert Rodriguez

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