K, THE TRAMP AND THE CINEMATIC VISION: THE KAFKAESQUE CHAPLIN

Kapitel in diesem Buch

1. Frontmatter i
2. CONTENTS v
3. ACKNOWLEDGEMENTS vii
4. NOTES ON CONTRIBUTORS ix
5. INTRODUCTION. IDO LEWIT AND SHAI BIDERMAN 1
6. PART ONE. THE CINEMATIC KAFKA
7. KAFKA, RUMOUR, EARLY CINEMA: ARCHAIC MOVING PICTURES 29
8. SEBALD GOES TO THE MOVIES: READING KAFKA AS CINEMATOGRAPHY 53
9. THE GHOST IS CLEAR: THE POV OF THE DAYDREAMER 68
10. MOVING PICTURES – VISUAL PLEASURES: KAFKA’S CINEMATIC WRITING 81
11. TO MOVE AS THE IMAGE MOVES: THE RULE OF RHYTHMIC PRESENCE AND ABSENCE IN KAFKA’S THE MAN WHO DISAPPEARED 97
12. NOISES OFF: CINEMATIC SOUND IN KAFKA’S ‘THE BURROW’ 111
13. GESTURE, WARDROBE, BACKDROP AND PROP IN FRANZ KAFKA’S THE MAN WHO DISAPPEARED AND PETER WEIR’S THE TRUMAN SHOW 130
14. THE POSSIBILITY OF THE CINEMATIC IN ‘THE METAMORPHOSIS’ AND ‘THE BURROW’ 163
15. PART TWO. THE KAFKAESQUE CINEMA
16. ‘THE ESSENTIAL IS SUFFICIENT’: THE KAFKA ADAPTATIONS OF ORSON WELLES, STRAUB-HUILLET AND MICHAEL HANEKE 181
17. K, THE TRAMP AND THE CINEMATIC VISION: THE KAFKAESQUE CHAPLIN 198
18. ‘THE MEDIUM IS THE MESSAGE’: CRONENBERG ‘OUTKAFKAS’ KAFKA 210
19. THE ABSURDITY OF HUMAN EXISTENCE: ‘THE METAMORPHOSIS’ AND THE FLY 236
20. ‘THIS IS NOT NOTHING’: VIEWING THE COEN BROTHERS THROUGH THE LENS OF KAFKA 258
21. THE FACE: K. AND KEATON 279
22. TRANSLATING KAFKA INTO ITALIAN: KAFKAESQUE THEMES IN ELIO PETRI’S FILMS 295
23. EPILOGUE. A PERSONAL QUEST INTO THE CINEMATIC KAFKAESQUE
24. MAGIC, MYSTERY AND MIRACLE: RE-SPIRALLING MARKER AND KAFKA 309
25. TRANSCRIBING KAFKA INTO FILM: A TORTUOUS LOVE-STORY 329
26. INDEX 349