{"title":"“Iris” (2001) by Richard Eyre: Film Reception Specificity of the Writer’s Biography","authors":"A. Matiychak, N. Nikoriak","doi":"10.31861/pytlit2022.105.094","DOIUrl":null,"url":null,"abstract":"The article analyses the film reception issues of I. Murdoch’s biography in epistemological and historiographical perspectives. Due to the productive interaction of different types of biographical works, the mechanism of presentation / perception / cognition is mainly realized through references and reflection as an individual ability to supplement the “truth” of factual biographical material with other relations such as “interpretability”, “realizability” that form the so-called cognitive complex related to the perception peculiarities of biopic both as a separate genre and in the context of other biographical genres: memoirs, literary biography, etc. In the global context of biopics about writers, the film “Iris” (2001), directed by Richard Eyre, is perceived quite ambiguously. This receptive „ambiguity” is explained by the fact that R. Eyre deviates to some extent from the established canons of the biopic genre, building his plot on the contrast of two planes of relations between famous intellectuals – Bayley and Murdoch – as young, talented, charismatic, open-minded in her relationships Iris and as an elderly woman suffering from an incurable disease. Since it is almost impossible to cover her life in all its manifestations and activities in one perspective, the director resorts to intermedial dimensions and techniques of presenting biographical material. Relying on the documentary basis and memoirs of Murdoch’s husband John Bayley (“Elegy of Iris” and “Iris and Her Friends”), due to chronotopic shifts, television biography in the biopic, excerpts from Murdoch’s lectures, emphasizing her quotes scattered in the film, R. Eyre frames his model of Murdoch’s biography. This strategy allowed him, albeit fragmentarily, to show one of the world's smartest women in various guises: as a writer, as a philosopher and as an ordinary person, recreating the happiest and the most tragic fragments of her life, especially during the progression of Alzheimer’s disease.","PeriodicalId":32028,"journal":{"name":"Pitanna Literaturoznavstva","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Pitanna Literaturoznavstva","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.31861/pytlit2022.105.094","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The article analyses the film reception issues of I. Murdoch’s biography in epistemological and historiographical perspectives. Due to the productive interaction of different types of biographical works, the mechanism of presentation / perception / cognition is mainly realized through references and reflection as an individual ability to supplement the “truth” of factual biographical material with other relations such as “interpretability”, “realizability” that form the so-called cognitive complex related to the perception peculiarities of biopic both as a separate genre and in the context of other biographical genres: memoirs, literary biography, etc. In the global context of biopics about writers, the film “Iris” (2001), directed by Richard Eyre, is perceived quite ambiguously. This receptive „ambiguity” is explained by the fact that R. Eyre deviates to some extent from the established canons of the biopic genre, building his plot on the contrast of two planes of relations between famous intellectuals – Bayley and Murdoch – as young, talented, charismatic, open-minded in her relationships Iris and as an elderly woman suffering from an incurable disease. Since it is almost impossible to cover her life in all its manifestations and activities in one perspective, the director resorts to intermedial dimensions and techniques of presenting biographical material. Relying on the documentary basis and memoirs of Murdoch’s husband John Bayley (“Elegy of Iris” and “Iris and Her Friends”), due to chronotopic shifts, television biography in the biopic, excerpts from Murdoch’s lectures, emphasizing her quotes scattered in the film, R. Eyre frames his model of Murdoch’s biography. This strategy allowed him, albeit fragmentarily, to show one of the world's smartest women in various guises: as a writer, as a philosopher and as an ordinary person, recreating the happiest and the most tragic fragments of her life, especially during the progression of Alzheimer’s disease.
本文从认识论和史学的角度分析了默多克传记的电影接受问题。由于不同类型的传记作品之间的生产性互动,呈现/感知/认知的机制主要是通过参考和反思这一个体能力来实现的,以“可解释性”、“可实现性”等其他关系来补充事实传记材料的“真实性”,这些关系形成了与传记作为单独类型和其他传记类型的感知特性相关的所谓认知情结。回忆录、文学传记等。在作家传记片的全球背景下,理查德·爱(Richard Eyre)导演的电影《虹膜》(Iris, 2001)给人的印象相当模糊。R. Eyre在某种程度上偏离了传记片类型的既定标准,将他的情节建立在著名知识分子——贝利和默多克——年轻、有才华、有魅力、思想开放的爱瑞斯和身患绝症的老年妇女之间的两个层面的关系对比上,从而解释了这种可接受的“模棱两可”。由于几乎不可能在一个视角中涵盖她的所有表现和活动,导演诉诸于呈现传记材料的中间维度和技术。R. Eyre以默多克的丈夫约翰·贝利(John Bayley)的回忆录(《艾瑞斯的挽歌》(Elegy of Iris)和《艾瑞斯和她的朋友们》(Iris and Her Friends)的纪录片为基础,由于时间的变化,传记片中的电视传记,摘录默多克的演讲,强调她在电影中散落的语录,从而构建了默多克传记的模型。这一策略让他以作家、哲学家和普通人的身份,零碎地展现了这位世界上最聪明的女性之一,重现了她生命中最快乐和最悲惨的片段,尤其是在阿尔茨海默病恶化期间。