Reconstructing the rose or how joining the dots (generally) makes the picture
2011; Salisbury University; Volume: 39; Issue: 4 Linguagem: Inglês
ISSN
0090-4260
Autores Tópico(s)Digital Humanities and Scholarship
ResumoThis paper takes as its subject Umberto Eco's 1980 novel The Name of Rose and its adaptation in 1986 by director Jean-Jacques Annaud. In particular I seek, however briefly, to use text, subsequent film, and particular context of novel-to-film adaptation to see if they illuminate dominant approaches to theorizing film spectatorship and making (or finding) of meaning. Film theorist David Bordwell, leading figure of one persuasive and pervasive account, cautions against precisely such a method, stating Any doctrine, be it psychoanalysis or Scientology, can be illustrated by artworks (Making Meaning 6). Notwithstanding Bordwell's status as, in words of one reviewer, the unchallenged capo di tutti capi of academic film studies, there is nonetheless a case for using The Name of Rose thus. Eco's own dual position as best-selling author and theorist suggests possibility of a collapsing of distinction between literature and criticism (Coletti 192-93) and, most of all, story materials address practices and traditions of signification in such a rich and sustained manner as to have given rise to their own exegetical tradition.
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