Perturbatory Narration in Film : : Narratological Studies on Deception, Paradox and Empuzzlement / / ed. by Sabine Schlickers, Vera Toro.

• Superior document: Title is part of eBook package: De Gruyter DG Plus DeG Package 2018 Part 1
• MitwirkendeR: Brössel, Stephan,; Brütsch, Matthias,; Eckel, Julia,; Feyersinger, Erwin,; Gunia, Inke,; Leiendecker, Bernd,; Orth, Dominik,; Preusser, Heinz-Peter,; Schlickers, Sabine,; Schmidt, Oliver,; Thoss, Jeff,; Toro, Vera,; Türschmann, Jörg,; Veits, Andreas,
• HerausgeberIn: Schlickers, Sabine,; Toro, Vera,
• Place / Publishing House: Berlin ;, Boston : : De Gruyter, , [2017]; ©2018
• Year of Publication: 2017
• Language: English
• Series: Narratologia : Contributions to Narrative Theory , 59
• Physical Description: 1 online resource (VI, 265 p.)

Perturbatory narration is a heuristic concept, applicable both quantitatively and qualitatively to a specific type of complex narratives for which narratology has not yet found an appropriate classification. This new term refers to complex narrative strategies that produce intentionally disturbing effects such as surprise, confusion, doubt or disappointment - effects that interrupt or suspend immersion in the aesthetic reception process. The initial task, however, is to indicate what narrative conventions are, in fact, questioned, transgressed, or given new life by perturbatory narration. The key to our modeling lies in its combination of individual procedures of narrative strategies hitherto regarded as unrelated. Their interplay has not yet attracted scholarly attention. The essays in this volume present a wide range of contemporary films from Canada, the USA, Mexico, Argentina, Spain, France and Germany. The perturbatory narration concept enables to typify and systematize moments of disruption in fictional texts, combining narrative processes of deception, paradox and/or empuzzlement and to analyse these perturbing narrative strategies in very different filmic texts.

Table of Contents

Frontmatter -- Table of Contents -- Introduction -- Disturbance and Perturbation in The Tracey Fragments -- A Tire Driving Crazy: Perturbatory Narration in Quentin Dupieux’s Rubber -- “I am a complex being”: Filmic Puzzles in Julio Medem’s Vacas and Tierra -- Narrative Empuzzlement in Robert Lepage’s Possible Worlds -- The Intrafictional Power of Fiction: Betibú by Miguel Cohan -- Splitting and Splintering of Reality in Jaco Van Dormael’s Mr. Nobody -- Sensory Representation, Perceptual Spaces, and Perturbatory Distribution of Information in Shane Carruth’s Upstream Color -- Complex Narration in Film: Reflections on the Interplay of Deception, Distancing and Empuzzlement -- “This is still a game, isn’t it?”: On the Confusing Inability to Decide Between the Fictionally Real and Virtual in David Cronenberg’s eXistenZ -- Deceptive Continuity: Classical Editing and Nonlinear Narrative in Nicolas Roeg’s Bad Timing -- Taking Split Personalities to the Next Level: Perturbatory Narration in Enemy -- Perturbatory Spaces in David Lynch’s Inland Empire -- Perturbatory Narration in Mexican Film: Juegos nocturnos/Nocturnal Games, El agujero negro del sol/The Black Hole of the Sun, and El incidente/The Incident -- Perturbatory Revocation: The Subtractive Cinema of Lisandro Alonso, Bruno Dumont and Béla Tarr -- About the authors -- Films cited -- Authors cited