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Turning the Reel. From Cinema to Cinematic Writing and Back Again: The Case of Franz Kafka’s The Man Who Disappeared

2014; Katholieke Universiteit Leuven; Volume: 15; Issue: 2 Linguagem: Inglês

1780-678X

Michiel Rys,

Visual Culture and Art Theory

Abstract This paper investigates the representation of dynamics, motion and gestures in the works of Franz Kafka and in the film adaptation of his novel The Man Who Disappeared. The first part of the paper critically recapitulates the research that revealed the ways in which Kafka was influenced by new visual media and early cinema. In the second part, we investigate how some of these influences are reworked in the film Class Relations (1984) by Straub/Huillet. Their adaptation slows down the cinematic dynamics, hints at the photographic origins of the moving image and questions established cinematic codes. Resume Le present article se propose d’analyser la representation du mouvement et du geste dans Franz Kafka et dans l’adaptation cinematographique de son roman L’Amerique ou le Disparu. La premiere partie du texte passe en revue les travaux ayant montre l’influence des nouveaux medias visuels et du cinema des premiers temps sur l’art de Kafka. La second partie examine la maniere dont ces influences sont reprises et repensee dans le film Klassenverhaltnisse (1984) de Straub/Huillet. Leur adaptation freine le rythme du mouvement cinematographique, attirant l’attention sur les origines photographiques de l’image mobile tout en interrogeant les codes hegemoniques du cinema.