§16§This book explores the work of two major twentieth-century artists by placing them in critical proximity. Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire(s) du cinéma connect in ways that the author accounts for through the agency of cinema and its theorisation. Cinema, the art form that characterises the twentieth century, provides the tools with which to recognise Proust's and Godard's shared poetic enterprise and the modernist underpinning that leads, in both cases, to the simultaneous rejection of and yearning for artistic transcendence. Rather than bringing Proust and Godard together by highlighting their similarity to cinema, the author instead considers the ways that these two major works respond to questions raised by film theory and philosophy. In this way, the communication across the formal and historical gulf that divides Proust and Godard makes itself heard.§ This study offers a new approach to film-philosophy scholarship by embracing t §16§he cinematic as an inspiring channel through which to rethink not only our relationship with film but also with literature and, potentially, with art at large. §04§Contents: Metaphor, metonymy and montage - Intertextuality and anagrams - Inter-sensory expression, synaesthetic space - Spectatorship and the subject - Musical silence and the impossibility of artistic transcendence - Time and the cinematic image. §13§«This book is a careful and convincing comparative analysis of Proust's and Godard's works, using film theory as a productive framework in order to shed light on the similarities between the two artists' poetic enterprises.» (Áine Larkin, French Studies 68, 2014/1) §02§Miriam Heywood holds a PhD in French Studies from University College London. She is the author of articles in Studies in French Cinema and Paragraph.
