New Novel · New Movie

Author: Mircea Eliade; Li Hua
Publisher:
Publish Date: 2003-01-01
Features: A 128-page book attempting to cover the broad and complex fields of the New Novel and New Cinema is like placing a bet. First, because the related concepts are vague, making it extremely difficult to establish it as a clearly defined research subject and determine its internal practices, which is fraught with problems. Additionally, such an attempt can only condense content, and due to its inclusiveness, one must inevitably abandon the distinctive writing techniques that constitute the characteristics of each work from the outset. This leads to the disappointment of both the authors and readers of this book, much like the hesitation shown by the New Novelists when they were lumped under the same label as "the junk drawer and the microscope." As M. Bachelard wrote in The_cv (1996), he lamented being labeled, "It sticks to my skin! It still does. In school textbooks or dictionaries, Bachelard is the New Novel! As if my work stopped in 1960." As for C. Simon, in his recent Garden of the Gods, he mocks the self-referential obsession of the 1960s New Novel while calling for something that can distance the New Novel from this tendency. A 128-page book attempting to cover the broad and complex fields of the New Novel and New Cinema is like placing a bet. First, because the related concepts are vague, making it extremely difficult to establish it as a clearly defined research subject and determine its internal practices, which is fraught with problems. Additionally, such an attempt can only condense content, and due to its inclusiveness, one must inevitably abandon the distinctive writing techniques that constitute the characteristics of each work from the outset. This leads to the disappointment of both the authors and readers of this book, much like the hesitation shown by the New Novelists when they were lumped under the same label as "the junk drawer and the microscope." As M. Bachelard wrote in The_cv (1996), he lamented being labeled, "It sticks to my skin! It still does. In school textbooks or dictionaries, Bachelard is the New Novel! As if my work stopped in 1960." As for C. Simon, in his recent Garden of the Gods, he mocks the self-referential obsession of the 1960s New Novel while calling for something that can distance the New Novel from this tendency.