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Cinematic FictionsThe Impact of the Cinema on the American Novel up to World War II$
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David Seed

Print publication date: 2009

Print ISBN-13: 9781846312120

Published to Liverpool Scholarship Online: June 2013

DOI: 10.5949/UPO9781846315190

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Ernest Hemingway: The Observer's Visual Field

Ernest Hemingway: The Observer's Visual Field

Chapter:
(p.68) 4 Ernest Hemingway: The Observer's Visual Field
Source:
Cinematic Fictions
Publisher:
Liverpool University Press
DOI:10.5949/UPO9781846315190.005

This chapter examines the works of Ernest Hemingway, which emerged from a matrix of modernist experimentation wherein the nature of visual perception is explored. Hemingway presents the unique case of a writer who rarely commented on film and who deliberately avoided Hollywood, only becoming interested in film-making in the 1930s; yet whose work has long attracted commentary on his cinematic method. His earliest prose explored the modes of visual representation. A series of sketches called ‘Paris 1922’ was Hemingway's first attempt at blending journalistic reportage with the imagistic precision he had been learning from Gertrude Stein.

Keywords:   modernism, visual perception, film, cinematic method, authors, novelists, visual representation

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