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AcknowledgmentsIntroduction1. Changing Configurations in Theories of Fictive Representation2. Why Does Fictive Representation Exist?3. The Wellsprings of Fictive Creativity4. The Materials of Fictive Invention5. The Informing Role of Fantasy6. The Shaping of Fictive Scenarios by the Author: Motivations, Strategies, and Outcomes7. The Exploitation of Generic Templates and Intertexts as Vehicles for Affect-Regulation8. Theories of Reception in the Twentieth and Twenty-First Centuries9. A Neuropsychoanalytic Theory of Reception10. Intersubjective Attunement, Filiation and the Re-creative Process: Jules and Jim--from Henri-Pierre Roche to Francois Truffaut11. The Conversion of Autobiographical Emotion into Symbolic Figuration: William Shakespeare's Hamlet12. Tracking a Personal Myth through an Oeuvre: the Films of Francois OzonConclusionFilmographySelect BibliographyIndex
Alistair Fox is Professor Emeritus of English at the University of Otago, New Zealand. He is author of Jane Campion: Authorship and Personal Cinema (IUP, 2011), translator of Anne Gillain's Francois Truffaut: The Lost Secret (IUP, 2013), and editor (with Raphaelle Moine, Hilary Radner, and Michel Marie) of A Companion to Contemporary French Cinema.