Titlebook: Bakhtin and the Movies; New Ways of Understa Martin Flanagan Book 2009 Martin Flanagan 2009 cinema.film.Hollywood

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,Chronotope I: Time, Space, Narrative — ‘Get Ready for Rush Hour’,aid to have caused cinematically naive spectators to run from the auditorium, believing that the titular train would crash through the screen. This fabled reaction perhaps marks out the Lumières as the Wachowski or Scott brothers of their era, progenitors of the cinema of spectacle that those modern

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Polyphony: Authorship and Power,me that suggests the possibility of a productive encounter with the Bakhtinian category of polyphony. Mamet pitches a female protagonist into a masculine realm of discourse that is closed-off, impenetrable to the outsider. This drama of communication is played out, however, within a broader context

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Conclusion: Making it Real, of discursive relations that I have identified as ‘dialogic’. Bakhtin suggests that the project of dialogism encompasses all expressions of socio-ideological life and is without limit in space and time; it takes heed of our contributions to meaning, but will ultimately carry on without us (MHS, p.1

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