醉染图书卡里尔·菲利普斯小说中的电影元素9787302460497

Preface i Acknowledgements iii List of Abbreviations v Chapter One Introduction 1
Chapter Two Novel and Film
Chapter Three Cinematic Visualization: Writing with a Camera Eye 57
I. Frequent Cross-references to the Cinema 58
II. Parallels of Different Camera Shots 70
III. The Significance of Different Shots 95


IV. The Significance of the Combination of Different Shots 103
Chapter Four Montage: Fragmentation and Discontinuity 111
I. ick Sequences of Brief Images 113
II. Metaphorical Montages 120 III. Parallel Montages and Jump Cuts 130

IV. Flashback Montages 139 V Conclusion 145
Chapter Five Phillips’s Cinematic Use of Light, Color and Sound 147
I. Light 147
II. Color 176
III. Sound 195
Chapter Six Cinematic Imagination 225
Bibliography 5

本书从以下三个角度分析了卡里尔·斯小说中的电影元素和技巧：（一）作者如何将各种电影镜头转化为文字，实现一种视觉化叙事；（二）作者如何巧妙地将各种电影蒙太奇技巧运用到小说叙事中；（三）作者在小说中对光、色彩、声音的电影化运用。研究表明电影对斯小说的叙事技巧、风格、人物刻画、主题都产生了重要影响。

Caribbean born writer Caryl Phillips is one of the foremost contemporary British novelists, having published ten novels over the past thirty years, an oeuvre that shows him continuously seeking to challenge readers’ expectations and offer fresh perspectives in each new work. Throughout this body of work, he has been steadfastly exploring so and cultural dimensions of racis, tcolonia iration, and diasporic identity, always placing his subject in view of carefully researched an daatically evoked historical context and with close attention to the circumstances and experiences of individuals. Such an approach and interescllfr experimentation, combining a humanistic concern and a postmodern sense of the constructedness of history and identity. Critics of Phillips’s work thus agree on the fact that he is a careful stylist and that narrative form and figurative technique are key concerns that distinguish his art. Yet few scholars have made the effort to pay close attention to his writing and examine his prose style in detail with a view to elucidating how it achieves its effects. Dr. Su’s book, Word into Image: Cinematic Elements in Caryl Phillips’s Fiction, addresses this absence in the critical scholarship and sets out to open the field by investigating Phillips’s style from a particularly salient perspective: focusing on his use and adaptation of features and techniques that explore the creative affinity between fiction and film.
Dr. Su’s book offers a detailed examination of ieatic influences as well as film-like technical innovations that characterize Phillips’s style. This choice of critical focus expresses a recognition of the importance of Phillips’s interest and achievement in forms or writing other than the novel, notably his body of work for the stage and for radio and television, which has received comparatively little critical attention. Recognizing the formative importance of this aspect of Phillips’s craft, Dr. Su proceeds systematically to analyze and explore ieatic elements and their formal function and thematic significance across four novels spanning Phillips’s career. The study is set within a well-established theoretical framework, mapping the rich interplay between ieatic and novelistic representation since the 19th century, and develops three major analytical trajectories. The first uses the ieatic terminology of different camera shots to disclose a grammar of visualization that organizes the narrative structure of Phillips’s novels. The second examines the analogy between ieatic techniques of montage and Phillips’s characteristic use of fragmentation and discontinuity. And the third trajectory traces figurative patterns, metaphorical and metonymic, in Phillips’s use o iht, color and sound.
Throughout her book, Dr. Su demonstrates not only a thorough familiarity with Phillips’s work and the critical scholarship that surrounds it, but more importantly also offers an original contribution to this scholarship by identifying and analyzing neglected aspects of his fictional style. Her study reads Phillips’s work in the context of carefully researched debates about the relations between iea and fiction and yields new insights into Phillips’s art and its relations to both modernisndpstmodern currents in contemporary fiction.
Otto Heim, PhD Associate Professor of English The University of Hong Kong

Acknowledgements
I would like to extend my sincere thanks to Dr Otto Heim, my supervisor, for his professional guidance, useful suggestions and total confidence in me. His help and support has helped me to get through those difficult times caused by some personal problems. Without his patience and encouragement, this book would not have been completed. Words can’t express how grateful I am to him.
I also wish to express my deep gratitude to Prof Bénédicte Ledent for sending me many useful materials concerning my research and giving me the chance to study with her during a research stay at the University of Liège. She taught me to be more confident in developing my own critical thoughts and has never hesitated to offer help whenever I needed. Her classes and the Advanced Seminar on Caryl Phillips I attended during the visiting study have been a great source of inspiration for me.
My thanks go also to my former supervisor Prof Bill Ashcroft for giving me a clear direction in the early stages of my study and supporting me morally throughout the research. S haks to the staff of the general office in the School of English for their kindness and support.
Most importantly, I am grateful to my parents Mr Su Jieliang and Ms Huang Jianhua, to my husband Mr Gong Chun, and to my son Gong Fanyun, who have provided me with love, care and understanding.

List of Abbreviations
The following abbreviations for Phillips’s novels are used throughout. Bibliographical details are given in the Bibliography.
DD Dancing in the Dark
FP The Final Passage
FS In the Falling Snow
NB The Nature of Blood

本书从以下三个角度分析了卡里尔·斯小说中的电影元素和技巧：（一）作者如何将各种电影镜头转化为文字，实现一种视觉化叙事；（二）作者如何巧妙地将各种电影蒙太奇技巧运用到小说叙事中；（三）作者在小说中对光、色彩、声音的电影化运用。研究表明电影对斯小说的叙事技巧、风格、人物刻画、主题都产生了重要影响。