Thomas Hardy as a Cinematic Novelist

  • David Lodge


This essay is a revised and extended version of an article, ‘Thomas Hardy and Cinematographic Form’, published in Novel, vii (1974) pp. 246–54.


Narrative Style Opening Chapter Realistic Fiction Recurrent Motif Narrative Film 
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  1. 1.
    Leon Edel, ‘Novel and Camera’, The Theory ol the Novel, ed. John Halperin (New York, 1974) p. 177.Google Scholar
  2. 2.
    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).Google Scholar
  3. 3.
    Roland Barthes, ‘To Write: An Intransitive Verb?’, The Structuralist Controversy, ed. R. Macksey and E. Donato (Baltimore, 1972) p. 140.Google Scholar
  4. 6.
    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.Google Scholar
  5. 7.
    J. Hillis Miller, Thomas Hardy: Distance and Desire (1970) p. 43.Google Scholar
  6. 8.
    Thomas Hardy, An Indiscretion in the Life of an Heiress, ed. with an introduction by Terry Coleman (1976).Google Scholar

Copyright information

© David Lodge 1977

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  • David Lodge

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