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Full Description
Virgil's Cinematic Art concerns the rhetoric of visual manipulation that provokes us to envision what is written on the page, treating visual details in ancient epic not as mere scene-setting information or enhancements to any given story, but as cues for performing specific imaginative processes. Through a series of close readings centered primarily on Virgil's Aeneid, Kirk Freudenburg shows that the experiential effects that Virgil puts into play do serious narrative work of their own by structuring lines of sight, both visual and emotive, and shifting them about in ways that move readers (interpellated as viewers) into and out of the visual and emotional worlds of the story's characters.
Studies of visualization in Latin poetry have tended to treat what is seen in epic as a matter of what is there to be seen, rather than an expression of how someone sees, treating images as mostly static. This study, by contrast, concerns the cinematics of ancient narrative: how words provoke an active, forward-moving process of experiential participation; poets not as verbal painters, but as projectors, purveyors of imagined happenings. Informed by cognitivist and constructivist studies of how audiences watch narrative films and make sense of what they are being given to see, Freudenburg locates new narrative content lurking in old places, brought to life within the imaginations of readers. The end result is a new approach to the question of how ancient epic tales convey narrative content through visual means.
Contents
Introduction
Seeing with Eyes Tightly Shut
Two Worlds in Dialogue: Film Analysis and Classic Narratology
Chapter One: Introducing Suture
Tracking Turnus: Visual Pursuit
Watching Paris: Hatred at First Sight
Sightings, First and Last: the Insect Similes of the Aeneid
Chapter Two: Precedents in Earlier Roman Poetry
Getting High with Lucretius
Vertical Relations
The Grammar of Angles Taken
The Other Side of High: Positioning Pathos
Chapter Three: Seeing as Telling
The Temple Ecphrasis of Aeneid 1
Aeneas the Neoteric
Duces Feminae: Fade to Dido
Image Pairs: the Catullan Background
Caving in to Desire: Dido's Wedding Parade
Chapter Four: Imagery as Understory
Dido's Visual Feast
Picturing Virgil's Words: Dido in the Middle
Golden Dido
On Keeping Dido Unfathomable
Girl on Fire
Chapter Five: Imagery as Counternarrative in the Death of Camilla
Imagining Camilla
Tracking Prey with Camilla
Dressed to Kill: Clothing as Fire-starter, Again
The Death of Camilla as a Life Fully Lived
One Last Look: Visual Counternarrative, and the Humanness of Virgil's 'Heroes'
Appendix of Classic Film Edits
Works Cited
Index
