Syllepsis in Woody Allen’s Films
Abstract
The aim of this article is to show the sylleptic character of Woody Allen’s films. Kruk attempts to transplant the concept of the sylleptic subjectivity of literary science onto a ground of film science, blurring the line between the textual “self” and real “self”. Syllepsis is designed to constitute the strategy of self-presentation, which allows the author to get away from the explicit character of biographism and hide behind his hero who has many qualities of the author himself and at the same time is literally not his portrait. This strategy appears to be appropriate to the postmodern world in which the line between reality and fiction has faded away, however Allen’s films can constitute its model example. This is confirmed by Annie Hall, Zelig, The Purple Rose of Cairo or Deconstructing Harry. Furthermore, syllepsis is also a model of the reception in which the author is read through the world represented in his works.
Keywords:
Woody Allen, syllepsis, self-referentialityReferences
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Authors
Adam Krukkwartalnik.filmowy@ispan.pl
Adam Mickiewicz University, Poznań Poland
Student V roku filmoznawstwa, telewizji i kultury medialnej w Instytucie Filologii Polskiej UAM; redaktor działu filmowego serwisu kulturalno-literackiego „Pro Arte”; zdobywca III Nagrody im. Krzysztofa Mętraka (2005) oraz trzykrotny laureat Konkursu Referatów Studenckich IFP UAM (2005, 2006 i 2007).
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Copyright (c) 2007 Adam Kruk
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