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By Deborah Cartmell

This can be a entire choice of unique essays that discover the aesthetics, economics, and mechanics of motion picture version, from the times of silent cinema to modern franchise phenomena. that includes quite a number theoretical ways, and chapters at the ancient, ideological and monetary features of variation, the amount displays today’s popularity of intertextuality as an important 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 via prime Shakespeare edition students
  • Explores attention-grabbing themes akin to ‘unfilmable’ texts
  • Includes designated issues of Ian McEwan’s Atonement and Conrad’s Heart of Darkness

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 variation and Modernism (pages 52–69): Richard J. Hand
Chapter four Sound version (pages 70–83): Deborah Cartmell
Chapter five variation and Intertextuality, or, What isn't really an edition, and What does it topic? (pages 85–104): Thomas Leitch
Chapter 6 movie Authorship and model (pages 105–121): Shelley Cobb
Chapter 7 The company of edition (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 reveal (pages 241–255): Lisa Hopkins
Chapter 14 Austen and Sterne: past history (pages 256–271): Ariane Hudelet
Chapter 15 Neo?Victorian diversifications (pages 272–291): Imelda Whelehan
Chapter sixteen dress 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 monitor (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 viewpoint (pages 408–415): Diane Lake

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

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This kind of intertitle, often called a “leader” since it leads the scene, was gradually replaced with dialogue titles and short continuity titles that blended into the narrative more seamlessly. Ironically, unlike dialogue and continuity titles, leaders still enjoy some use in contemporary movies. Avant-garde filmmaker Jean-Luc Godard uses leaders in films like Masculin Féminin: 15 Faits Précis (1966) and Le Weekend (1967) primarily to disrupt rather than clarify, providing an example of how the accepted role of intertitles can be altered for artistic purposes.

Tom Gunning’s influential argument (1989) that pioneering cinema created “an aesthetic of astonishment” as part of a “cinema of attractions” has now passed into the received wisdom about what early cinema was. In the process, Gunning’s paradigm has, in the way of things, sometimes been reduced to a cruder and misleading summary of itself in which a stupefied audience for early cinema is posited, watching in awed astonishment as the wondrous moving images unspool before their eyes. Many of the generously allusive signals within early films such as Trilby and King John, pointing knowingly (and multiply) beyond their own borders, provide an antidote to that critically reductive tendency by reminding us that the “astonishment” provoked by early cinema was not one that deactivated participative discernment or associative thinking, or that equated in any way to stupefaction.

Murnau’s Nosferatu (1922)10 – the silent era witnessed literary adaptations of dynamism, invention, visual drama, emotional weight and interpretive import. But, as my select list of some personal adaptation highlights from the era also suggests, these resist homogenizing claims, collectively presenting a sample snapshot of filmmaking in the period nearly as varied in tone and character as the broader cinema histories from which they emerged and to which they vibrantly contributed. Literary Adaptation in the Silent Era 31 Notes 1 2 3 4 5 6 7 8 King John is commercially available on the BFI DVD Silent Shakespeare (hereafter Silent Shakespeare).

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