Stefano Ercolino, Ph.D. (2013), University of L’Aquila, is Assistant Professor of Comparative Literature at Underwood International College, Yonsei University (Seoul, Korea). He is the author of The Novel-Essay, 1884-1947 (Palgrave Macmillan, 2014) and The Maximalist Novel: From Thomas Pynchon’s “Gravity’s Rainbow” to Roberto Bolaño’s “2666” (Bloomsbury, 2014; Bompiani, 2015).Massimo Fusillo, Ph.D. (1987), University of Calabria, is Professor of Comparative Literature at the University of L’Aquila (Italy), and member of the Executive Council of the International Association of Comparative Literature. He is the author of Estetica della letteratura, (Il Mulino, 2009; Machado, 2012) and Feticci (Il Mulino, 2012; Champion, 2014).Mirko Lino, Ph.D. (2010), University of L’Aquila, is Adjunct Professor of Film History and Literary Criticism at the University of L'Aquila (Italy) and Research Affiliate in Cinema and Media Studies at the University of Palermo (Italy). He has published the monograph L’apocalisse postmoderna tra letteratura e cinema: Catastrofi, oggetti, metropoli, corpi (Le Lettere, 2014).Luca Zenobi, Ph.D. (2004), University of Pisa, is Assistant Professor of German at the University of L’Aquila (Italy). Among his most recent publications, La natura e l’arte: Interpretazione del reale ed estetica della libertà nel pensiero di Diderot e Schiller (ETS, 2005), and Faust: Il mito dalla tradizione orale al post-pop (Carocci, 2013).

• AcknowledgementsNotes on ContributorsIntroduction Massimo FusilloThe Aesthetics of Imaginary FilmsNotes Toward a Theory of Cinematic “Ekphrasis”James A. W. HeffernanThe Killing Vision: David Foster Wallace’s Infinite JestStefano ErcolinoHybridizations“Writing The Making Of”: A New Literary Genre?Jan Baetens“A Film Run in Installments”: Memory and Cinema in Tom McCarthy’s RemainderVincenzo MaggittiTowards Other Worlds, Towards Other Meanings: Screenplays on the Edge of the PlotClotilde BertoniPaul Auster, Hector Mann and The Book of IllusionsAnna ScannaviniMañana en la batalla piensa en mí: Cinema, Theatre, Television and the Creative Force of the WordFederica IvaldiFailed Cinema“Quo Vadis – Kino?” Kurt Pinthus and the Theoretical Debate on the Birth of Cinema in GermanyLuca ZenobiThe Outer Life of Martin Frost, or Never Make an Imaginary FilmSilvia AlbertazziOn Conceiving (and Sometimes Not Succeeding in Making) a FilmGiulio IacoliThe Politics of Imaginary FilmsThe “Quasi-Truth”. Literature and Cinema in Starnone and PiccoloGianluigi SimonettiBreakfast at the Prater. Christopher Isherwood, His Women and MenGian Piero PirettoThe Technological Imagery Alpdrücken and the Spectrum of Power in Gravity’s Rainbow by Thomas PynchonMirko LinoPattern Recognition: The “Postcinema” Seen by William GibsonSimone ArcagniBibliographyIndex

Stefano Ercolino, Ph.D. (2013), University of L’Aquila, is Assistant Professor of Comparative Literature at Underwood International College, Yonsei University (Seoul, Korea). He is the author of The Novel-Essay, 1884-1947 (Palgrave Macmillan, 2014) and The Maximalist Novel: From Thomas Pynchon’s “Gravity’s Rainbow” to Roberto Bolaño’s “2666” (Bloomsbury, 2014; Bompiani, 2015).Massimo Fusillo, Ph.D. (1987), University of Calabria, is Professor of Comparative Literature at the University of L’Aquila (Italy), and member of the Executive Council of the International Association of Comparative Literature. He is the author of Estetica della letteratura, (Il Mulino, 2009; Machado, 2012) and Feticci (Il Mulino, 2012; Champion, 2014).Mirko Lino, Ph.D. (2010), University of L’Aquila, is Adjunct Professor of Film History and Literary Criticism at the University of L'Aquila (Italy) and Research Affiliate in Cinema and Media Studies at the University of Palermo (Italy). He has published the monograph L’apocalisse postmoderna tra letteratura e cinema: Catastrofi, oggetti, metropoli, corpi (Le Lettere, 2014).Luca Zenobi, Ph.D. (2004), University of Pisa, is Assistant Professor of German at the University of L’Aquila (Italy). Among his most recent publications, La natura e l’arte: Interpretazione del reale ed estetica della libertà nel pensiero di Diderot e Schiller (ETS, 2005), and Faust: Il mito dalla tradizione orale al post-pop (Carocci, 2013).

• AcknowledgementsNotes on ContributorsIntroduction Massimo FusilloThe Aesthetics of Imaginary FilmsNotes Toward a Theory of Cinematic “Ekphrasis”James A. W. HeffernanThe Killing Vision: David Foster Wallace’s Infinite JestStefano ErcolinoHybridizations“Writing The Making Of”: A New Literary Genre?Jan Baetens“A Film Run in Installments”: Memory and Cinema in Tom McCarthy’s RemainderVincenzo MaggittiTowards Other Worlds, Towards Other Meanings: Screenplays on the Edge of the PlotClotilde BertoniPaul Auster, Hector Mann and The Book of IllusionsAnna ScannaviniMañana en la batalla piensa en mí: Cinema, Theatre, Television and the Creative Force of the WordFederica IvaldiFailed Cinema“Quo Vadis – Kino?” Kurt Pinthus and the Theoretical Debate on the Birth of Cinema in GermanyLuca ZenobiThe Outer Life of Martin Frost, or Never Make an Imaginary FilmSilvia AlbertazziOn Conceiving (and Sometimes Not Succeeding in Making) a FilmGiulio IacoliThe Politics of Imaginary FilmsThe “Quasi-Truth”. Literature and Cinema in Starnone and PiccoloGianluigi SimonettiBreakfast at the Prater. Christopher Isherwood, His Women and MenGian Piero PirettoThe Technological Imagery Alpdrücken and the Spectrum of Power in Gravity’s Rainbow by Thomas PynchonMirko LinoPattern Recognition: The “Postcinema” Seen by William GibsonSimone ArcagniBibliographyIndex

Stefano Ercolino, Ph.D. (2013), University of L’Aquila, is Assistant Professor of Comparative Literature at Underwood International College, Yonsei University (Seoul, Korea). He is the author of The Novel-Essay, 1884-1947 (Palgrave Macmillan, 2014) and The Maximalist Novel: From Thomas Pynchon’s “Gravity’s Rainbow” to Roberto Bolaño’s “2666” (Bloomsbury, 2014; Bompiani, 2015).Massimo Fusillo, Ph.D. (1987), University of Calabria, is Professor of Comparative Literature at the University of L’Aquila (Italy), and member of the Executive Council of the International Association of Comparative Literature. He is the author of Estetica della letteratura, (Il Mulino, 2009; Machado, 2012) and Feticci (Il Mulino, 2012; Champion, 2014).Mirko Lino, Ph.D. (2010), University of L’Aquila, is Adjunct Professor of Film History and Literary Criticism at the University of L'Aquila (Italy) and Research Affiliate in Cinema and Media Studies at the University of Palermo (Italy). He has published the monograph L’apocalisse postmoderna tra letteratura e cinema: Catastrofi, oggetti, metropoli, corpi (Le Lettere, 2014).Luca Zenobi, Ph.D. (2004), University of Pisa, is Assistant Professor of German at the University of L’Aquila (Italy). Among his most recent publications, La natura e l’arte: Interpretazione del reale ed estetica della libertà nel pensiero di Diderot e Schiller (ETS, 2005), and Faust: Il mito dalla tradizione orale al post-pop (Carocci, 2013).

• AcknowledgementsNotes on ContributorsIntroduction Massimo FusilloThe Aesthetics of Imaginary FilmsNotes Toward a Theory of Cinematic “Ekphrasis”James A. W. HeffernanThe Killing Vision: David Foster Wallace’s Infinite JestStefano ErcolinoHybridizations“Writing The Making Of”: A New Literary Genre?Jan Baetens“A Film Run in Installments”: Memory and Cinema in Tom McCarthy’s RemainderVincenzo MaggittiTowards Other Worlds, Towards Other Meanings: Screenplays on the Edge of the PlotClotilde BertoniPaul Auster, Hector Mann and The Book of IllusionsAnna ScannaviniMañana en la batalla piensa en mí: Cinema, Theatre, Television and the Creative Force of the WordFederica IvaldiFailed Cinema“Quo Vadis – Kino?” Kurt Pinthus and the Theoretical Debate on the Birth of Cinema in GermanyLuca ZenobiThe Outer Life of Martin Frost, or Never Make an Imaginary FilmSilvia AlbertazziOn Conceiving (and Sometimes Not Succeeding in Making) a FilmGiulio IacoliThe Politics of Imaginary FilmsThe “Quasi-Truth”. Literature and Cinema in Starnone and PiccoloGianluigi SimonettiBreakfast at the Prater. Christopher Isherwood, His Women and MenGian Piero PirettoThe Technological Imagery Alpdrücken and the Spectrum of Power in Gravity’s Rainbow by Thomas PynchonMirko LinoPattern Recognition: The “Postcinema” Seen by William GibsonSimone ArcagniBibliographyIndex