Resumen de The cinematograph in the novel
Ever since the mass diffusion of cinema began, the imagination of the novel 's reader has become indebted to film. When the I of the reader becomes a film-viewer, the "eye" of the reader is inevitably coached in the visual rhetorics of tilm. Readers have thus been equipped with a virtual inner cinematograph that pervades their visual creativity.
This paper seeks to argue thar contemporary readers of novel, not only tap into their experience of deciphering film syntax to till out the diegetic gaps in the written narrative.
but also resort heavily to their cinematic imagination when filling out the "visual gaps" of a literary narrative. In other words, literary passage, that appeal to the visual imagination are now mentally enacted much to the resemblance of film sequences.
I will propose the concept of "para-cinematographic vision" to encompas, the film-driven imaginative operatons carried out by the contemporary reader of fiction, often not deliberately. The phenomenon of the mental image will be instrumental in tackling these visual image, that are enacted in the absence of their optical referents. Bearing in mind illarie-Laure Ryan's perspective of narrative as a 'multimedia construct', the concept put forward to describe this aspect of the reading proces will also be grounded on Mieke Bal's notion of 'figuration' and on Chrisropher Collins' idea of 'enactive interpretation', as well as on Pier Paolo Pasolini 's semiology of the 'image sign'.
