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Beyond the déjà-vu

Intermedial tranpositions of the film noir motif of the automobile in contemporary Anglo-American and French novel

Bibliographic Data

ID10248903
AuthorsLaurence Riu-Comut (0009-0005-8797-7563, ALTER Research Group (Arts/Langages : Transitions & Relations - UR 7504), Université of Pau and Pays de l’Adour, Pau, France, corresponding author)
Year2025
Volume46
Issue2
Pages211-227
Publication date2025-08-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueThe Journal of Transport History (JOURNAL)
Journal identifiersISSN: 0022-5266 • E-ISSN: 1759-3999
PublisherSAGE Publications (PUBLISHER • US)
DOI10.1177/00225266251327366
OpenAlexW4408557276
LanguageFR
Citations received1
References cited2

This article focuses on the stakes of the intermedial transpositions of the filmic motif of the automobile from the noir genre in a corpus of four Anglo-American novels which bear the imprint of cinema: Jean Echenoz's Cherokee (1983), Tanguy Viel's L'Absolue Perfection du Crime (2001), Martin Amis's London Fields (1989), Robert Coover's Noir (2010). Automobile and automobility will be considered as “semantic/syntactic” criteria defining the noir genre (Rick Altman). The transposition of this filmic motif and of genre scenes such as the car chase contribute to the “return to narrative” (Dominique Viart) after the relative decline of narrative fiction in the previous decades, under the influence of the Nouveau Roman in France and of formalist experimentations in the United States and the United Kingdom. It contributes to the renewal of the contemporary novel from in a critical light, denouncing traditional novelistic conventions and genre stereotypes

Aesthetics · Art · Art history · Déjà vu · Genealogy · Motif (music · Comics and Graphic Narratives · Crime and Detective Fiction Studies · History · Narrative Theory and Analysis · Psychology

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Unique citing works1
Citations per year1
Citation span2025 - 2025 (1)
Citation velocityrecent
Highly citedNo
Citation typesNeutral: 1

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