The Dark Creative Passage: A Derridean Journey from The Literary Text to Film

Sei Shonagon's and Peter Greenaway's The Pillow Book (1996), St. Mark's Gospel and Denys Arcand's Jesus of Montreal (1989), Dashiell Hammett's and John Huston's Maltese Falcon (1941) and Quentin Tarantino's Pulp Fiction (1994), Michael Ondaatje's and Anthony M...

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Bibliographic Details
Published in:	Film Quarterly 2007, Vol.60 (4), p.85-86
Main Author:	Anderson, Nicole
Format:	Review
Language:	eng
Subjects:	Annaud, Jean-Jacques Creativity Duras, Marguerite (1914-1996) English language Fantin-Latour, Henri Fiction Hammett, Dashiell (1894-1961) Ideology Jarmusch, Jim (1953- ) Literature Memory Metaphor Minghella, Anthony Motion pictures Nonfiction Ondaatje, Michael (1943- ) Poetry Rhetorical figures Tarantino, Quentin Theory
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Summary:	Sei Shonagon's and Peter Greenaway's The Pillow Book (1996), St. Mark's Gospel and Denys Arcand's Jesus of Montreal (1989), Dashiell Hammett's and John Huston's Maltese Falcon (1941) and Quentin Tarantino's Pulp Fiction (1994), Michael Ondaatje's and Anthony Minghella's The English Patient (1996), Marguerite Duras's and Jean-Jacques Annaud's The Lover ( 1992), William Blake's The Songs oflnocence and Experience and Jim Jarmusch's Dead Man (1995). Reading The Dark Creative Passage, I often thought that one way of understanding how the (invisible) creative process is manifested in film, might be to start by analyzing the cinematic form, the relationship of cinematic devices (close-ups, long shots, objective and subjective POV, color, mise-en-scène) to plot, narrative, and themes, as well as to the descriptions of characters and various tropes and metaphors in a literary text, so opening up questions of interpretation and (re)presentation.
ISSN:	0015-1386 1533-8630