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By Paul Auster

ISBN-10: 8432218235

ISBN-13: 9788432218231

Este volumen recoge Smoke, Blue within the Face y Lulu at the Bridge, tres de los guiones de Paul Auster, además de fabric adicional como entrevistas, notas a los actores y el texto del Cuento de Navidad de Auggie Wren (que motivó l. a. película Smoke). Una excelente oportunidad para adentrarse en los trabajos del género cinematográfico que Paul Auster ha desarrollado a lo largo de su carrera.

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As in WTSW, social hierarchy is spatialised in the multi-levelled architecture of the city itself, providing the dynamic visual template for Fritz Lang’s Metropolis (1926) (see Chapter 3). Wells associates induced visualisation with oppression and narcosis, rather than cultural stimulation, in this story’s post-literate society. Hypnotism (a form of controlled hallucination later used as a leading metaphor for cinema itself in German Expressionism, as in Lang’s films) constitutes a kind of virtual time travel, supplying ‘artificial dreams’.

Wells technologised the fantasy of time travel, but this was symptomatic of a convergence in late Victorian trends which also took the form of cinema. 27 Unlike Wells’s Time Traveller, cinema audiences could not literally disembark from their seats to explore alien worlds when the machine stops. However, in Paul’s project (derived from Victorian dioramas and panoramas, with added movie technology) this was intended to be the case. Paul’s spectators were also to have been virtual passengers able to step out into his scenes, as if oscillating between two and three dimensions like the ambiguous stereoscopy of film itself (a topos that Wells developed in other directions in the parallel but proximate universes of many of his short stories).

190–97, especially 190), perhaps hinting at the paradoxical way in which absent presences could be figured so ‘substantially’ in film at second-hand through the impressions they make on other, visible objects (see discussion in Chapter 2). Conversely, in ‘The Inexperienced Ghost’ (1902), Wells’s gormless spook is semi-transparent just like a superimposition, through which you can see its surroundings, perhaps recalling G. A. Smith’s 1897 Photographing a Ghost, which quickly applied the Hove pioneer’s patent double-exposure process to a supernatural theme (CSS, pp.

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Guiones by Paul Auster

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