Imaginary films in literature / edited by Stefano Ercolino, Massimo Fusillo, Mirko Lino, Luca Zenobi.

• TeilnehmendeR: Ercolino, Stefano, 1985-; Fusillo, Massimo, 1959-; Lino, Mirko.; Zenobi, Luca.
• Place / Publishing House: Leiden ;, Boston : : Brill,, 2015.
• Year of Publication: 2015
• Language: English
• Series: Textxet: Studies in Comparative Literature 82.
• Physical Description: 1 online resource (247 p.)
• Notes: Description based upon print version of record.
• Other title: Preliminary Material /; Introduction /; Notes toward a Theory of Cinematic “Ekphrasis” /; The Killing Vision: David Foster Wallace’s Infinite Jest /; “Writing the Making of”: A New Literary Genre? /; “A Film Run in Installments”: Memory and Cinema in Tom McCarthy’s Remainder /; Towards Other Worlds, Towards Other Meanings: Screenplays on the Edge of the Plot /; Paul Auster, Hector Mann and The Book of Illusions /; Mañana en la batalla piensa en mí: Cinema, Theatre, Television and the Creative Force of the Word /; “Quo vadis – Kino?” Kurt Pinthus and the Theoretical Debate on the Birth of Cinema in Germany /; The Outer Life of Martin Frost, or Never Make an Imaginary Film /; On Conceiving (and Sometimes Not Succeeding in Making) a Film /; The “Quasi-Truth”: Literature and Cinema in Starnone and Piccolo /; Breakfast at the Prater: Christopher Isherwood, His Women and Men /; Alpdrücken and the Spectrum of Power in Gravity’s Rainbow by Thomas Pynchon /; Pattern Recognition: The “Postcinema” Seen by William Gibson /; Bibliography /; Index /
• Bibliography: Includes bibliographical references and index.
• ISBN: 9004306331
• Hierarchical level: Monograph
• Statement of Responsibility: edited by Stefano Ercolino, Massimo Fusillo, Mirko Lino, Luca Zenobi.

Since cinema is a composite language, describing a movie is a complex challenge for critics and writers, and greatly differs from the ancient and successful genre of the ekphrasis , the literary description of a visual work of art. Imaginary Films in Literature deals with a specific and significant case within this broad category: the description of imaginary, non-existent movies – a practice that is more widespread than one might expect, especially in North American postmodern fiction. Along with theoretical contributions, the book includes the analyses of some case studies focusing on the borders between the visual and the literary, intermedial practices of hybridization, the limits of representation, and other related notions such as “memory”, “fragmentation”, “desire”, “genre”, “authorship”, and “censorship”.