Proust In The Power Of Photography

"Drawing on his own experience as a photographer and author, Brassai discovers a neglected aspect of Proust's interests, offering us a fascinating study of the role of photography both in Proust's oeuvre and in early-twentieth-century culture."--BOOK JACKET.

The importance of vision and visual arts such as painting, theatre, and sculpture in Marcel Proust's A la recherche du temps perdu has long been affirmed; another significant system of visual representation in the novel is photography. Proust appropriated photography as a practice with its own distinctive characteristics which could inform his writing about the processes of perception and memory. Through close textual analysis of scenes where photography is experienced or observed as a practice, and scenes where photography is written into the body of the text, Aine Larkin offers an invigorating new study that sheds genuinely new light on the presence of photographic motifs in Proust's novel, and the subtlety of Proust's engagement with this modern imaging system in his work.

The new edition of The Photography Handbook builds on previous editions’ illuminating overview of the history, theory and practice of the creation and consumption of photographic images, and engages with the practical and theoretical implications of the explosion of new platforms for making, viewing and distributing images. New materials in this edition includes new chapters on ‘Photo-elicitation’ and ‘Photography and Technological Change’, exploration and analysis of ‘selfie’ culture, and extensive discussion of the work and practices by a new generation photographic artists. The Photography Handbook, Third edition also features: exploration and discussion of key photographic terms, including composition, framing, visualisation, formalism and realism analysis of the ethics of photojournalism, and ethical issues specific to digital photography practice today case studies illustrating different photographic production practices and specific related issues, including an assignment for the Guardian, the Libyan People’s Bureau siege, and the work of war photographers a foregrounding of digital photographic practices, and exploration of areas including photographic manipulation, digital photojournalism, citizen journalists and copyright on the internet end of chapter summaries of key points, and an extensive glossary of essential photography terms. The Photography Handbook, Third edition is an invaluable resource for students, scholars and practitioners of photography, and all those seeking to understand its place in today’s society.

"Combining the work of two extraordinary artists--Eugène Atget, a giant of early photography, and Marcel Proust, the French novelist--this stunning volume, in 120 haunting photographs and a brilliant text taken from Remembrance of Things Past, brings to life Paris at the turn of the twentieth century. More than a re-creation of a particular metropolitan setting, A Vision of Paris evokes a fusion of time and place, a rich sensory world of people and pleasures, sights, sounds, smells, and customs that is so distinctly parisien."--Publisher's description.

The strange M. Proust - the narrator, the author, and the embodiment of A la Recherche du Temps perdu - is now so canonical a writer that his very strangeness is easily overlooked. His book made of other books, his epic composed of extraordinary miniatures, his orderly structure where every law is subverted, his chronology where time can be undone and his geography where places can superimpose: in these, and many other ways, Proust continues to astonish even readers who have engaged with him for their entire careers. In this book, arising from the Princeton symposium of 2006, major critics come together to offer provocative readings of a work which is at the same time classical and unusual, French and foreign, familiar and strange. The book is dedicated to the memory of Malcolm Bowie (1943-2007), whose keynote address was one of his last major lectures. Other contributors include David Ellison, Anne Simon, Eugene Nicole, Joseph Brami, Raymonde Coudert, Christie McDonald, Michael Wood and Antoine Compagnon.

Portrait photography increased in popularity during the modernist period and offered new ways of seeing and understanding the human face. This book examines how portrait photographs appeared as literary motifs in the works of three modernist writers with personal experience of the medium: Marcel Proust, Franz Kafka and Virginia Woolf. Combining perspectives from literary, visual and media studies, Marit Grotta discusses these writers' ambivalent views on portrait photographs and the uncertain status of technical images in the early twentieth century more generally. In reconsidering the attention paid to analogue photographs in literature, this book throws light on both modernist reactions to portrait photography and on our relationships to photographs today.

What is autobiography and how does it transform in the age of technological reproducibility? Katja Haustein discusses this question as it relates to photography and the role of emotion in Marcel Proust's In Search of Lost Time (1909-22), Walter Benjamin's Berlin Childhood around 1900 (1932-38), and Roland Barthes's Roland Barthes (1977) and Camera Lucida (1980). In her close critical readings, Haustein provides the first comprehensive comparative analysis of these popular works, mapping them against little-studied textual, visual and aural material, some of which has only recently become accessible. In this way, her book opens new avenues in scholarship dedicated to three outstanding twentieth-century writers and contributes to a field of critical inquiry that is still in the making: the history of autobiography in the light of a history of the gaze.

Awarded the Tudor Vianu Prize for Literary and Cultural Theory by the National Museum of Romanian Literature. Over the past 30 years, the fields of world literature and world cinema have developed on parallel but largely separate tracks, with little recognition of their underlying similarities and the ways that each can learn from the other. Time Regained does not move from literature to cinema, but exists simultaneously in both fields. The 7 filmmakers selected here, Andrei Tarkovsky, Akira Kurosawa, Martin Scorsese, Raúl Ruíz, Wong Kar Wai, Stephen Daldry, and Paolo Sorrentino, are themselves also writers or people with literary training, and they produce a new type of world cinema thanks to their understanding of the world simultaneously through literature and film. In the process, their films produce new readings of literary texts that world literature studies wouldn't have been able to achieve with its own instruments. Time Regained examines how filmmakers build on literature to reconfigure the world as a landscape of dreams and how they use film to reinvent the narrative techniques of the authors on whom they draw. The selected filmmakers draw inspiration from French surrealists, modernists Marcel Proust, Virginia Woolf, and Marguerite Yourcenar, and predecessors such as Dante and Cao Xueqin. In the process, these filmmakers cross the borders between film and literature, nation and world, dream and reality.