Urban fictions of factual representation
This paper is an attempt to read the American city from an alternative point of view by focusing on the question of what images can tell about it, what are the limits of representation and what is the implied methodology of historical consciousness in urban discourse. The practitioners of the field...
Elmentve itt :
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| Dokumentumtípus: | Cikk |
| Megjelent: |
2018
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| Sorozat: | Americana : E-Journal of American Studies in Hungary
14 No. 1 |
| Kulcsszavak: | Amerikanisztika, Amerikai irodalom története |
| Online Access: | http://acta.bibl.u-szeged.hu/64524 |
| Tartalmi kivonat: | This paper is an attempt to read the American city from an alternative point of view by focusing on the question of what images can tell about it, what are the limits of representation and what is the implied methodology of historical consciousness in urban discourse. The practitioners of the field of history, as Hayden White argues, become much more aware of the field’s linguistic nature and a work of art―whether a novel, a play, or even a movie―could only be understood, if analyzed in its historical context. These current developments raise the question of disciplinary boundaries of history, literature and visual arts, and claim a critical rethinking of their relationship in particular. Moreover, this rethinking has a strong influence on the interpretation of visual images within the field of humanities at large. To achieve these goals, my paper will follow a selection of films as referential points, namely Buried Child (dir. David Horn, 2016), Cat on a Hot Tin Roof (dir. Richard Brooks, 1958), Citizen Kane (dir. Orson Welles, 1941), The Crucible (dir. Nicholas Hytner, 1996), and Who’s Afraid of Virginia Woolf? (dir. Mike Nichols, 1966). By incorporating these American films into my argumentation, the paper aims to go beyond the temporal representation of the modern city and seeks to find a new understanding of historical imagination through cinematic representation. |
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| ISSN: | 1787-4637 |