Story vis-a-vis Film (Black and White)

The book is the outcome of years-long effort to study the language that a textual story speaks and a filmic image sequence adopts to impress upon the viewers a sense of storiness. Surprisingly both veer close to each other if the textualized story bespeaks a broken and non-cohering narrative bypassing the linear time-cause sequence and the film happens to be a cut-and-jump or snapshot telescopic arrangement of images and voices. Both these art forms do not present an unveiled and stretched from start-to-end story or any human experience within brackets. Of course these observations pertain to 20th century epiphanic and elliptical short narratives (that could be as peepingly short as the iceberg tip provoking a reader to call them “Iceberg Story”- the kinds Joyce or Mansfield wrote) and the modernist art film in the associational non-linear and non-sequential form first conceptualized and shown forth in his films by the Russian film-maker Sergei Eisenstein. The present study is a funnelled focus on the structural and modal affinities between the two.