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‘Nous avons une reconstitution à reconstituer’: Re-enacting the Mystery of the Yellow Room
Romance Studies Pub Date : 2017-10-02 , DOI: 10.1080/02639904.2017.1413851
Kate Rees 1
Affiliation  

This article considers the most recent film adaptation of Gaston Leroux’s Le mystère de la chambre jaune, the 2003 version directed by Bruno Podalydès, as a production which ‘palimpsestuously’ brings out the self-reflexive qualities of the original text. Leroux’s detective novel can be seen, intertextually, as a series of embedded narratives, symbolized by the enclosed walls of the locked Yellow Room itself. Focus falls in particular on the representation of newspapers in the novel, an echo of practices at work in Poe’s early detective stories, which cut and paste newspaper reports as fictionalized source texts. As in Poe’s tales, such texts are challenged and pastiched by the broader narrative of the novel. Podalydès’ film incorporates its own embedded narratives via the inclusion of newspapers, photography and theatre, and accentuates the ludic quality of Leroux’s text through the frequent images of toys and gadgets which give visual significance to cogs and levers, making manifest the workings of the contraptions as Leroux exposes the workings of narrative in his mystery novel. This article will examine Podalydès’ embracing of the self-awareness of its source text and the way it playfully points to multiple points of origin.

中文翻译:

“Nous avons une reconstitution à reconstituer”:重演黄屋之谜

本文考虑了由布鲁诺·波达利德斯 (Bruno Podalydès) 执导的 2003 年版本的加斯顿·勒鲁 (Gaston Leroux) 的《蓝色神秘》(Le mystère de la chambre jaune) 的最新电影改编版,它是一部“翻版”地展现了原著的自我反省特质的作品。勒鲁的侦探小说可以互文地被看作是一系列嵌入的叙事,以锁着的黄色房间本身的封闭墙壁为象征。重点特别放在小说中报纸的表现上,这是对坡早期侦探小说实践的回应,将报纸报道剪切和粘贴为虚构的源文本。就像在坡的故事中一样,这些文本受到小说更广泛叙事的挑战和模仿。Podalydès 的电影通过包含报纸、摄影和戏剧,融入了自己的内在叙事,并通过玩具和小玩意的频繁图像突出了勒鲁文本的嬉戏品质,这些图像赋予齿轮和杠杆视觉上的意义,在勒鲁揭露其神秘小说中叙事的运作时,体现了这些装置的运作方式。本文将考察 Podalydès 对其源文本的自我意识的拥抱以及它顽皮地指向多个原点的方式。
更新日期:2017-10-02
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