Ernest Hemingway: The Observer's Visual Field
Ernest Hemingway: The Observer's Visual Field
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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