CONJUNCȚIA DINTRE LITERATURĂ ȘI CINEMATOGRAFIE ÎN LUNGA CĂLĂTORIE A PRIZONIERULUI DE SORIN TITEL
THE CONJUNCTION BETWEEN LITERATURE AND CINEMA IN SORIN TITEL’S LUNGA CĂLĂTORIE A PRIZONIERULUI [THE LONG JOURNEY OF THE PRISONER]

Summary/Abstract: Sorin Titel’s approach to the formula of the French New Novel is often pointed out by literary critics, Eugen Simionclaiming that, from the contact with the New Novel, the one who benefited the most in Romanian literature seems to be Sorin Titel. On the chain opened by Eugen Simion, Cornel Ungureanu considers the narrative construction techniques used by Titel as innovative and well-dosed experiments, making analogieswith the new techniques in the cinema of the time, nouvelle vogue. Ungureanu recalls even aso-called “school of seeing”, a predilection for the construction of the images which Titel takes from the theoreticians of the New Wave. Moreover, in his analysis of Alain Robbe-Grillet's new cinematic approach, critic Roy Armes lately notes that one of the biggest shortcomings that traditional criticism generally finds in the New Novel writing is “the inability to tell a story”, precisely because the attention goes to these well-designed images. As a former student at the Institute of Cinematography, in the film directing department, Sorin Titel naturally uses “suggestions” of the New Wave. These subtle connections in the scenario transform the text into a cinematographic construction, potentiated by the closeness to the Nouveau Roman, although not entirely defined by it. Lunga călătorie a prizonierului [The Long Journey of the Prisoner]is also a montage, in which the narrator seems to choose the images that can be exposed in the narrative, as well as the details in these images that are worth framing. Seen through this critical lens, Sorin Titel’s novel is eventually a narrative in which these visual images tell the story mostly according to the contribution of the reader, so the narrator remains only a tool by which the visual stories become visible in interpretation. Starting from the cinematic techniques Keith Cohen defines in his bookFilm and Fiction. The Dynamics of Exchange, the present paper investigates Sorin Titel’s novel not as a narrative, but as a dynamic, fragmentary and cinematic experience of reading.

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