Thomas Hardy as a Cinematic Novelist
This essay is a revised and extended version of an article, ‘Thomas Hardy and Cinematographic Form’, published in Novel, vii (1974) pp. 246–54.
KeywordsNarrative Style Opening Chapter Realistic Fiction Recurrent Motif Narrative Film
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- 1.Leon Edel, ‘Novel and Camera’, The Theory ol the Novel, ed. John Halperin (New York, 1974) p. 177.Google Scholar
- 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
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- 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
- 7.J. Hillis Miller, Thomas Hardy: Distance and Desire (1970) p. 43.Google Scholar
- 8.Thomas Hardy, An Indiscretion in the Life of an Heiress, ed. with an introduction by Terry Coleman (1976).Google Scholar
© David Lodge 1977