A one-day conference at the University of Paris-Diderot
10, rue Charles V, 75004, Paris, salle SAV 9h-19h
See description and argument below

9h Catherine Bernard and Sara Thornton: Introduction

9h30 Laura Marcus, University of Oxford: The Aftermath of The Tenth
Muse

10h30 Caroline Pollentier, Paris-Diderot: 'Imaginary Cinemas and
Ordinary
Perception in Virginia Woolf's London'

11h15 Nicola Glaubitz, University of Siegen, Germany: 'Living,
Loving,
Cinema-Going: Henry Green and the Movies'

Questions

12h 30-14h30 Lunch

14h30 Ariane Hudelet, Paris-Diderot: 'Fiction, perception and
adaptation: Austen and Sterne in the digital age'

15h15 Florence Bigo-Renault, Paris-Diderot: 'The power of movement,
blur and
narrative bytes in Dickensian writing and film'.

16h Anemona Ligensa, University of Siegen, Germany: 'Textual and
filmic
technologies and perceptions'

16h45 Jeremy Tambling, University of Manchester, UK: 'Opera, Film
and Modernist Practice'

Questions and cocktail

Description:
Laura Marcus, Goldsmiths Professor of English, Oxford, is visiting
professor
at Paris-Diderot this year. We will be taking her book The Tenth
Muse as our
theoretical starting point for our colloquium and considering both
in the
nineteenth-century and the modernist period the extraordinary
interface
between literary and filmic discourse and practice. We will be
considering
not only the becoming of film and its dialogue with literature from
1880-1930, but also the importance of new technology and its effect
on
perception, the interpellation of the viewing or reading subject and
the
experience of passage as they occur in both film and literature.
Papers may
also consider how mid-nineteenth-century literature practiced
pre-filmic
modes of writing and how these are taken up in recent film
adaptations. Time
space, narrative space and subjectivity as they appear in early
cinema can
help us to understand literary space as well as the dependence of
both media
upon the industrialization of perception. We will be considering
the
ideological implications of the many forms of merging or fracturing
as they
appear in film and writing. What linguistic and visual practices are
involved? How are visual or verbal languages dismembered and
remembered?
This conference will interest literary and cinema specialists as it
will
those working on the history of film, early film criticism and the
history
of media.
The Tenth Muse explores writings on the cinema in the first decades
of
the twentieth century. Laura Marcus examines the impact of cinema on
early
twentieth-century literary and, more broadly, aesthetic and cultural
consciousness, by bringing together the study of the terms and
strategies of
early writings about film with literary engagement with cinema in
the same
period. She gives a new understanding of the ways in which early
writers
about film - reviewers, critics, theorists - developed aesthetic
categories
to define and accommodate what was called 'the seventh art' or 'the
tenth
muse' and found discursive strategies adequate to the representation
of the
new art and technology of cinema, with its unprecedented powers of
movement.
Laura Marcus's other publications include : Auto/biographical
Discourses:
Criticism, Theory, Practice (1994), Virginia Woolf: Writers and
their Work
(1997: 2nd edition 2004) et The Tenth Muse: Writing about Cinema in
the
Modernist Period (2007). She is editor of Freud's The Interpretation
of
Dreams: New Interdisciplinary Essays (1999), co-editor of the
Cambridge
History of Twentieth-Century English Literature (2005)