Joycean frames: film and the fiction of James Joyce by Thomas Burkdall

By Thomas Burkdall

Using options from movie concept, this much-needed learn explores in-depth the "cinematic" caliber of James Joyce's fiction from Dubliners to Finnegan's Wake.

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They represent all humans in the approach of their consciousness to the reality swirling about them; while each individual may have a distinct mental vernacular, all of us can identify with the process of their thoughts. HCE and ALP, on the other hand, represent the concept of universalism with a vengeance. Not only does Joyce portray different people in distinct places sharing similar experiences, he also depicts those in different times and cultures as much the same. This representation of universalism allows Joyce to create HCE as a composite character, with avatars as historically diverse as Finn MacCool, Noah, King Arthur, Oscar Wilde, the Duke of Wellington and Osiris.

Copyright 2001 by Thomas L. Burkdall CHAPTER THREE Bioscope Portraits of Reality -The question is, I said, is literature to be fact or is it to be an art? -It should be life, Joyce replied, and one of the things I could never get accustomed to was the difference between life and literature. -Arthur Power, Conversations with James Joyce That which enthralls us all-the cominonplace. Among the important elements common to both literature and cinema is that each medium frequently purports to create a picture of life, to represent external reality.

He considers Eliot's poetry in connection with the mechanisms of the alarm clock, the subway and the telephone, all in a crowded urban setting. The machine in general, that is "any economical self-activating system for organizing resources," be it of steel or words, dominates the aesthetic of Pound. In his essay on Beckett, he notes how the language of the machine becomes the novel-Kenner translates a passage of Watt into the computer language Pascal and suggests that Beckett already writes "in a proto-computer language" (96).

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