Download A Companion to Literature, Film, and Adaptation by Deborah Cartmell PDF

, , Comments Off on Download A Companion to Literature, Film, and Adaptation by Deborah Cartmell PDF

By Deborah Cartmell

It is a finished number of unique essays that discover the aesthetics, economics, and mechanics of motion picture variation, from the times of silent cinema to modern franchise phenomena. that includes various theoretical ways, and chapters at the old, ideological and fiscal elements of edition, the quantity displays today’s popularity of intertextuality as an essential and revolutionary cultural strength.

  • Incorporates new learn in version stories
  • Features a bankruptcy at the Harry Potter franchise, in addition to different modern views
  • Showcases paintings by way of best Shakespeare edition students
  • Explores interesting themes comparable to ‘unfilmable’ texts
  • Includes precise concerns of Ian McEwan’s Atonement and Conrad’s Heart of Darkness

Content:
Chapter 1 Literary version within the Silent period (pages 15–32): Judith Buchanan
Chapter 2 Writing at the Silent display (pages 33–51): Gregory Robinson
Chapter three model and Modernism (pages 52–69): Richard J. Hand
Chapter four Sound model (pages 70–83): Deborah Cartmell
Chapter five edition and Intertextuality, or, What isn't really an model, and What does it subject? (pages 85–104): Thomas Leitch
Chapter 6 movie Authorship and model (pages 105–121): Shelley Cobb
Chapter 7 The company of variation (pages 122–139): Simone Murray
Chapter eight Adapting the X?Men (pages 141–158): Martin Zeller?Jacques
Chapter nine The vintage Novel on British tv (pages 159–175): Richard Butt
Chapter 10 Screened Writers (pages 177–197): Kamilla Elliott
Chapter eleven Murdering Othello (pages 198–215): Douglas M. Lanier
Chapter 12 Hamlet's Hauntographology (pages 216–240): Richard Burt
Chapter thirteen Shakespeare to Austen on display (pages 241–255): Lisa Hopkins
Chapter 14 Austen and Sterne: past background (pages 256–271): Ariane Hudelet
Chapter 15 Neo?Victorian diversifications (pages 272–291): Imelda Whelehan
Chapter sixteen gown and version (pages 293–311): Pamela Church Gibson and Tamar Jeffers McDonald
Chapter 17 tune into video clips (pages 312–329): Ian Inglis
Chapter 18 Rambo on web page and display (pages 330–341): Jeremy Strong
Chapter 19 Writing for the films (pages 343–358): Yvonne Griggs
Chapter 20 Foregrounding the Media (pages 359–373): Christine Geraghty
Chapter 21 Paratextual version (pages 374–390): Jamie Sherry
Chapter 22 Authorship, trade, and Harry Potter (pages 391–407): James Russell
Chapter 23 Adapting the Unadaptable – The Screenwriter's standpoint (pages 408–415): Diane Lake

Show description

Read or Download A Companion to Literature, Film, and Adaptation PDF

Best film & television books

Misfit sisters : screen horror as female rites of passage

How are stories akin to 'Cinderella', 'Red driving Hood' and 'Bluebeard' referenced and revised in sleek monitor horror? What goals encourage lady protagonists, and what hindrances do they come upon? If those are cautionary stories for the twenty first century, what do they let us know approximately gender roles and expectancies, romantic goals and indignant needs?

Film Theory: Rational Reconstructions

In movie thought: Rational Reconstructions, Warren Buckland asks a sequence of questions on how movie conception will get written within the first position: How does it choose its gadgets of research and its equipment of inquiry? How does it make discoveries and clarify filmic phenomena? And, How does it formulate and remedy theoretical difficulties?

Roland Barthes’ cinema

The main recognized identify in French literary circles from the past due Nineteen Fifties until eventually his dying in 1981, Roland Barthes maintained a contradictory rapport with the cinema. As a cultural critic, he warned of its surreptitious skill to steer the enthralled spectator towards an attractiveness of a pre-given international. As a leftist, he understood that spectacle might be grew to become opposed to itself and impress deep wondering of that pre-given global.

Extra resources for A Companion to Literature, Film, and Adaptation

Sample text

Griffith’s Judith of Bethulia (1914) starring Blanche Sweet is commercially available (Bach Films) (see Buchanan, forthcoming); Murnau’s Nosferatu (1922) is multiply commercially available (including on Elstree Hill). References Altman, Rick. Silent Film Sound. New York: Columbia University Press, 2004. Andrew, Dudley. Concepts in Film Theory. Oxford: Oxford University Press, 1984. The Bioscope, 22:379, January 15, 1914, 217. Brown, Richard and Barry Anthony. A Victorian Film Enterprise: The History of the British Biograph and Mutoscope Company, 1897–1915.

The further [the motion picture] gets from Euripides, Ibsen, Shakespeare, or Molière – the more it becomes like a mural painting from which flashes of lightning come – the more it realizes its genius (Lindsay, 1970: 194). Nevertheless, in adapting theatrical material, films of the transitional era were sometimes caught by a counter-impulse to signal a sustained allegiance to the medium of derivation of their source material, the stage. This was particularly true of Shakespearean filmmaking. While it sometimes broke free into freshly conceived ways of seeing and narrating, equally its blocking, cinematography, and performance codes sometimes timidly courted the look and feel of theatrical productions in an attempt, perhaps, to legitimize its own presumptuous project in adapting Literary Adaptation in the Silent Era 25 Shakespeare for film at all.

Rather the project was, in effect, to produce cinematically animated, brief, visual quotations from a work. 2 Gunning has termed the privileging of isolated cameo references over a consistent narrative drive in such films a “peak moment” approach to a source (2004: 128). Choosing key moments from the inherited story – whenever possible those that already had some heightened recognition-value in the public consciousness – gave the advantage of speedy intelligibility for a picture-going audience independently able to contextualize the unplaced moment playing out before them.

Download PDF sample

Rated 4.56 of 5 – based on 13 votes