Abstract
This essay is a revised and extended version of an article, ‘Thomas Hardy and Cinematographic Form’, published in Novel, vii (1974) pp. 246–54.
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Notes
Leon Edel, ‘Novel and Camera’, The Theory ol the Novel, ed. John Halperin (New York, 1974) p. 177.
Roman Jakobson, ‘Two Aspects of Language and Two Types of Linguistic Disturbances’ in R. Jakobson and M. Halle, Fundamentals of Language (The Hague, 1956) p. 78. For a full discussion of the theory see my The Modes of Modern Writing: Metaphor, Metonymy and the Typology oi Modern Literature (1977).
Roland Barthes, ‘To Write: An Intransitive Verb?’, The Structuralist Controversy, ed. R. Macksey and E. Donato (Baltimore, 1972) p. 140.
John Schlesinger’s Far from the Madding Crowd (1967) made a good attempt in the early part of the film-particularly with a striking shot in which the camera moves rapidly and vertically away from Gabriel’s flock until the sheep and the contours of the countryside become two-dimensional shapes in an abstract design-but gradually the melodrama of the story came to predominate.
J. Hillis Miller, Thomas Hardy: Distance and Desire (1970) p. 43.
Thomas Hardy, An Indiscretion in the Life of an Heiress, ed. with an introduction by Terry Coleman (1976).
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© 1977 David Lodge
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Lodge, D. (1977). Thomas Hardy as a Cinematic Novelist. In: Butler, L.S. (eds) Thomas Hardy After Fifty Years. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-03219-8_7
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