000			03537cam a2200469Ki 4500
001			ocn852899301
003			OCoLC
005			20240726105416.0
008			130716s2012 njua ob 001 0 eng d
010			_z2012009920
040			_aNT _beng _epn _erda _cNT _dYDXCP _dP@U _dOCLCO _dOCLCF _dEBLCP _dE7B _dCCO _dCOO _dLVT _dOCLCQ _dLOA
020			_a9780813554501 _q((electronic)l(electronic)ctronic)
020			_a9781461934936 _q((electronic)l(electronic)ctronic)
050	0	4	_aPN1996 _b.B639 2012
049			_aMAIN
100	1		_aFischer, Lucy. _e1
245	1	0	_aBody double : _bthe author incarnate in the cinema / _cLucy Fischer.
260			_aNew Brunswick, New Jersey ; _aLondon : _bRutgers University Press, _c(c)2012.
300			_a1 online resource (ix, 273 pages) : _billustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
500			_aIncludes filmography (pages 243-246).
504			_a2
505	0	0	_aIntroduction: the screen author wanted: dead or alive -- _tTypecasting the author -- _tBeyond adaptation: the writer as filmmaker -- _tThe author at the dream factory: the screenwriter and the movies -- _tThe authoress: textuality as sexuality -- _tWriting pain: the infirm author -- _tWord and image -- _tCorpus and oeuvre: authorship and the body -- _tStealing beauty: the reader, the critic, and the appropriation of the authorial voice -- _tAfterword: Signs and meaning in the cinema.
520	0		_a"Body Double explores the myriad ways that film artists have represented the creative process. In this highly innovative work, Lucy Fischer draws on a neglected element of auteur studies to show that filmmakers frequently raise questions about the paradoxes of authorship by portraying the onscreen writer. Dealing with such varied topics as the icon of the typewriter, the case of the writer/director, the authoress, and the omnipresent infirm author, she probes the ways in which films can tell a plausible story while contemplating the conditions and theories of their making. By examining many forms of cinema, from Hollywood and the international art cinema to the avant-garde, Fischer considers the gender, age, and mental or physical health of fictionalized writers; the dramatized interaction between artists and their audiences and critics; and the formal play of written words and nonverbal images. By analyzing such movies as Adaptation, Diary of a Country Priest, Naked Lunch, American Splendor, and Irezumi, Fischer tracks the parallels between film author and character, looking not for the creative figure who stands outside the text, but for the one who stands within it as corporeal presence and alter-ego."--Publisher's website.
530			_a2 _ub
650		0	_aMotion picture authorship.
650		0	_aAuteur theory (Motion pictures)
650		0	_aMotion pictures and literature.
650		0	_aAuthors in motion pictures.
650		4	_aAuteur theory (Motion pictures)
650		4	_aAuthors in motion pictures.
650		4	_aMotion picture authorship.
650		4	_aMotion pictures and literature.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=608747&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN _m2012 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c99419 _d99419
902			_a1 _bCynthia Snell _c1 _dCynthia Snell