Alistair Fox is Professor Emeritus of English at the University of Otago, New Zealand. He is author of Jane Campion: Authorship and Personal Cinema (IUP, 2011), translator of Anne Gillain¿s Fran¿s Truffaut: The Lost Secret (IUP, 2013), and editor (with Rapha¿e Moine, Hilary Radner, and Michel Marie) of A Companion to Contemporary French Cinema.
Alistair Fox is Professor Emeritus of English at the University of Otago, New Zealand. He is author of Jane Campion: Authorship and Personal Cinema (IUP, 2011), translator of Anne Gillain¿s Fran¿s Truffaut: The Lost Secret (IUP, 2013), and editor (with Rapha¿e Moine, Hilary Radner, and Michel Marie) of A Companion to Contemporary French Cinema.
Alistair Fox is Professor Emeritus of English at the University of Otago, New Zealand. He is author of Jane Campion: Authorship and Personal Cinema (IUP, 2011), translator of Anne Gillain's François Truffaut: The Lost Secret (IUP, 2013), and editor (with Raphaëlle Moine, Hilary Radner, and Michel Marie) of A Companion to Contemporary French Cinema.
Inhaltsangabe
Acknowledgments Introduction 1. Changing Configurations in Theories of Fictive Representation 2. Why Does Fictive Representation Exist? 3. The Wellsprings of Fictive Creativity 4. The Materials of Fictive Invention 5. The Informing Role of Fantasy 6. The Shaping of Fictive Scenarios by the Author: Motivations, Strategies, and Outcomes 7. The Exploitation of Generic Templates and Intertexts as Vehicles for Affect-Regulation 8. Theories of Reception in the Twentieth and Twenty-First Centuries 9. A Neuropsychoanalytic Theory of Reception 10. Intersubjective Attunement, Filiation and the Re-creative Process: Jules and Jim-from Henri-Pierre Roché to Francois Truffaut 11. The Conversion of Autobiographical Emotion into Symbolic Figuration: William Shakespeare's Hamlet 12. Tracking a Personal Myth through an Oeuvre: the Films of François Ozon Conclusion Filmography Select Bibliography Index
Acknowledgments Introduction 1. Changing Configurations in Theories of Fictive Representation 2. Why Does Fictive Representation Exist? 3. The Wellsprings of Fictive Creativity 4. The Materials of Fictive Invention 5. The Informing Role of Fantasy 6. The Shaping of Fictive Scenarios by the Author: Motivations, Strategies, and Outcomes 7. The Exploitation of Generic Templates and Intertexts as Vehicles for Affect-Regulation 8. Theories of Reception in the Twentieth and Twenty-First Centuries 9. A Neuropsychoanalytic Theory of Reception 10. Intersubjective Attunement, Filiation and the Re-creative Process: Jules and Jim-from Henri-Pierre Roché to Francois Truffaut 11. The Conversion of Autobiographical Emotion into Symbolic Figuration: William Shakespeare's Hamlet 12. Tracking a Personal Myth through an Oeuvre: the Films of François Ozon Conclusion Filmography Select Bibliography Index
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