In an experiment, Russian film maker and film theorist Lev Kuleshov edited together a short film in which a shot of the actor Ivan Mosjoukine was combined with various other shots, among them a bowl of soup, a woman, and shot of a child in a coffin. The film was shown to an audience who believed the actor expressed different emotions with each situation, when in fact, the footage of Mosjoukine was the same shot repeated over and over again. Even though, Mosjoukine did not see the shots, and hence, could not react to either of them, the viewers were convinced to witness the adequate emotions. Thus, the viewer filled in the blanks and saw the expression, although there was none.
The impact of this experiment was called the Kuleshov effect. It illustrates the significance of film editing as well as the importance of the viewer. The Kuleshov effect brings together the thought of the cinematographer and the idea the viewer creates in his own mind. The result of this co-production is a whole new meaning that can refer to something that was denoted before, but can also be unrelated to it.
Vladimir Nabokov's Lolita manifests a lively dialogue between literature and cinema. But how and to what extent has montage philosophy influenced this work? In the following paper, I aim to show that Humbert Humbert, the central character's presentation of the story appears in a cinematic manner as his first-person narrative makes use of various means of film technique. Moreover, his position towards people, particularly Lolita, bears resemblance to the relationship between a director and his actors. In other words, in Lolita, we follow the protagonist as he directs the story and the people around him.
Inhaltsverzeichnis (Table of Contents)
- 1 Introduction
- 2 Russian Formalism
- 2.1 Principles of Formalism
- 2.2 Russian Formalist Influences in Lolita
- 3 Montage Culture as Modernist Culture
- 3.1 The Basics of Editing
- 3.2 Introduction to Montage Philosophy
- 3.3 Montage's Modernist Notions
- 3.4 Features and Deployment of Montage
- 4 Lo.Lee. Ta. - A Montage Narrative
- 4.1 Nabokov and Film
- 4.2 Americanitis and European Consciousness: The Functions of Film in Lolita
- 4.3 Director's Cut: Humbert's Roles and the Role of the Cinematographer
- 4.4 The Kuleshov Effect
- 4.5 Lo.Lee. Ta. - A Montage Narrative
- 5 Conclusion
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper aims to demonstrate the cinematic presentation of Humbert Humbert in Vladimir Nabokov's Lolita, arguing that his first-person narrative utilizes various film techniques. It explores the parallels between Humbert's relationship with others, particularly Lolita, and the director-actor dynamic, suggesting Humbert directs the story and those around him. The analysis investigates the interplay between film and literary narrative in Lolita, examining how film techniques contribute to character development and the manipulation of character perception.
- The influence of Russian Formalism on Nabokov's narrative style in Lolita.
- The application of montage theory and film techniques within the novel's structure and character portrayal.
- The exploration of Humbert Humbert as a "cinematographer" shaping the narrative and his interactions.
- The Kuleshov effect and its relevance to the reader's interpretation of Humbert's actions and perceptions.
- The relationship between the novel and the broader context of montage culture and Modernism.
Zusammenfassung der Kapitel (Chapter Summaries)
1 Introduction: This chapter introduces the Kuleshov effect, a film editing technique that demonstrates the viewer's active role in constructing meaning. It highlights the significance of film editing and the viewer's interpretation. The chapter establishes the central question: to what extent does montage philosophy influence Lolita? The author proposes that Humbert Humbert functions as a director, manipulating his narrative and the people within it, using cinematic techniques. The introduction outlines the paper's structure and methodology, promising an analysis of Russian Formalism, montage theory, and their deployment in Nabokov's novel.
2 Russian Formalism: This chapter explores the principles of Russian Formalism, a school of literary criticism active from 1915 to 1930. Key features discussed include literariness, the importance of language as the primary material, form as structure or method, and a rigorous methodology. The chapter delves into the concepts of algebraization and defamiliarization (ostraneniye), explaining how objects are perceived through their key features, rather than their entirety, and how defamiliarization enhances the complexity of perception, slowing it down for aesthetic effect. The chapter lays the groundwork for understanding how these formalist principles might influence Nabokov's literary techniques.
3 Montage Culture as Modernist Culture: This section will delve into the theoretical and practical aspects of montage. It will explore the fundamental techniques of film editing and their philosophical underpinnings within the context of Modernism. The chapter will examine the key features and applications of montage, laying the groundwork for analyzing its use in Nabokov's novel. The chapter links the theory of montage to its Modernist context.
4 Lo.Lee. Ta. - A Montage Narrative: This chapter focuses on the application of montage techniques in Nabokov's Lolita. It will examine Nabokov's relationship with film and explore the various ways in which film techniques are employed in the novel. The analysis will encompass the narrative structure, the presentation of Humbert Humbert as a director-like figure, and the use of the Kuleshov effect. It will investigate how these techniques shape the reader's perception of characters and their interactions. Specifically, it will analyze how Humbert's role as a narrator mirrors the role of a cinematographer, manipulating the presentation of events and characters, creating meaning through framing and editing. The exploration of "Americanitis" and "European consciousness" in the context of film's function within the novel will likely be a significant part of this chapter's analysis.
Schlüsselwörter (Keywords)
Russian Formalism, montage, film theory, Vladimir Nabokov, Lolita, Humbert Humbert, narrative structure, character portrayal, Kuleshov effect, defamiliarization, Modernism, cinematic techniques, first-person narrative.
Lolita: A Montage Narrative - FAQ
What is the main topic of this paper?
This paper analyzes Vladimir Nabokov's Lolita, arguing that its narrative structure and character portrayal utilize cinematic techniques, particularly montage, to shape the reader's perception. It explores Humbert Humbert's role as a "cinematographer" manipulating his narrative and the people within it.
What are the key themes explored in the paper?
The key themes include the influence of Russian Formalism on Nabokov's writing style, the application of montage theory and film techniques in Lolita, Humbert Humbert's function as a director-like figure shaping the narrative, the relevance of the Kuleshov effect to reader interpretation, and the connection between the novel and broader Modernist and montage culture.
How does Russian Formalism relate to the analysis of *Lolita*?
The paper examines the principles of Russian Formalism, such as defamiliarization and the focus on form and structure, to understand how these literary theories inform Nabokov's narrative techniques in Lolita.
What is the significance of montage theory in this analysis?
Montage theory, focusing on film editing techniques and their impact on meaning-making, is central to the analysis. The paper explores how Nabokov employs montage-like techniques in Lolita's narrative structure and character presentation.
What is the role of Humbert Humbert in the analysis?
Humbert Humbert is analyzed as a "cinematographer" or director-like figure who manipulates the narrative and controls the presentation of events and characters to influence the reader's interpretation. His first-person narration mirrors the techniques of a filmmaker.
What is the Kuleshov effect and its relevance to *Lolita*?
The Kuleshov effect, a film editing technique demonstrating the viewer's active role in constructing meaning through juxtapositions, is discussed as a crucial element in understanding how Nabokov shapes the reader's understanding of Humbert's actions and perceptions.
How does the paper connect *Lolita* to Modernism and montage culture?
The paper situates Lolita within the broader context of Modernism and montage culture, exploring how the novel reflects and utilizes the aesthetic and philosophical concerns of that era.
What is the structure of the paper?
The paper is structured into five chapters: an introduction establishing the central argument and methodology; a chapter on Russian Formalism; a chapter on montage theory within Modernism; a chapter analyzing Lolita as a montage narrative; and a conclusion. Each chapter provides a detailed summary.
What are the key concepts and terms used in this paper?
Key terms include Russian Formalism, montage, film theory, narrative structure, character portrayal, the Kuleshov effect, defamiliarization, Modernism, cinematic techniques, and first-person narrative.
What is the overall conclusion of the paper?
The paper concludes by demonstrating how Nabokov’s use of cinematic techniques, informed by both Russian Formalism and montage theory, shapes the reader’s experience and understanding of *Lolita*, particularly regarding the manipulative nature of Humbert Humbert’s narration.
- Quote paper
- Irina Kirova (Author), 2012, Lo.Lee.Ta. - A Montage Narrative, Munich, GRIN Verlag, https://www.grin.com/document/207641
