Écrire le mouvement : l’hypotypose dans le récit intermédial (Martin Amis, Robert Coover)
The influence of the seventh art on contemporary narrative literature is no longer in question, since cinema now occupies a predominant place in our cultural practices and shapes our representations. The transposition into writing of the movement that is consubstantial with the filmic medium particu...
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| Pubblicato in: | URI:https://journals.openedition.org/ranam, |
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| Autore principale: | |
| Natura: | Article ou chapitre numérique |
| Lingua: | Français |
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Recherches anglaises et nord-américaines
2026
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| Soggetti: | |
| Accesso online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Riassunto: | The influence of the seventh art on contemporary narrative literature is no longer in question, since cinema now occupies a predominant place in our cultural practices and shapes our representations. The transposition into writing of the movement that is consubstantial with the filmic medium particularly concerns the figure of hypotyposis, where novelistic showing meets intermediality. In this “descriptive narration” (Louvel), movement manifests itself in a striking way to place the scene before the eyes of the reader. I will consider the cinematic hypotyposis in a story and a novel that bear the imprint of Film Noir: Robert Coover’s “Intermission” (1987), in the United States domain, and Martin Amis’s London Fields (1989), in the English domain. Both authors transpose into literary narrative genre scenes which represent a mobility: a chase, a kidnapping. After presenting the theoretical foundations allowing to consider the hypotyposis as a vector of intermediality, I will consider how the figure takes part in the narrative economy. Hypotyposis restores cinema’s power of presentification within the text by creating mental images that are part of a filmic imagination, revisiting the enargeia of the rhetorical tradition. |
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