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Hieroglyphic ModernismsWriting and New Media in the Twentieth Century$
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Jesse Schotter

Print publication date: 2018

Print ISBN-13: 9781474424776

Published to Edinburgh Scholarship Online: September 2018

DOI: 10.3366/edinburgh/9781474424776.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 24 September 2021

Sound Enclosures

Sound Enclosures

Chapter:
(p.92) 3 Sound Enclosures
Source:
Hieroglyphic Modernisms
Author(s):

Jesse Schotter

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474424776.003.0004

Moving from theories of film to film itself, the third chapter contends that Citizen Kane employs the same narrative form as the novel Orson Welles wanted to adapt when he went to Hollywood, Conrad’s Heart of Darkness. Both works revolve around the attempted decipherment of a deathbed phrase by multiple narrators. But Welles also derives from Conrad his concern with the relationship among speech, writing, and image, a relationship transformed by new technologies of sound recording, frequently described as akin to hieroglyphs. The innovative plot structures of Conrad and Welles seek to call attention to the ways in which the medium of the novel or of film, respectively, can uniquely express the visual and the oral, without seeking to mediate between the two.

Keywords:   Sound Recording, Film, Orson Welles, Joseph Conrad, Narrative, Modernism

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