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- Citation Styles for "Literature and film : a guide to the theory and practice of film adaptation"
- Literature and Film: A Guide to the Theory and Practice of Film Adaptation
- Literature and Film: A Guide to the Theory and Practice of Film Adaptation - Google Книги
Would you like to change to the United States site? Her dissertation explores race and vernacular social criticism in American culture between and Keeping the Carcass in Motion: The Discreet Charm of the Leisure Class: Terence Davies's The House of Mirth: Richard Porton Cineaste magazine. The Carnival of Repression: Alexandra Seibel New York University. History and Crisis in The Butcher Boy: Jessica Scarlata New York University.
- Literature and Film: A Guide to the Theory and Practice of Film Adaptation by Robert Stam.
- Image and Narrative - Article?
- The Book of Levi.
Mild Revisionism, Failed Revolts: Niebylski University of Kentucky. Memory and History in the Politics of Adaptation: Revisiting the Partition of India in Tamas: Ranjani Mazundar Jamia Millia Islamia.
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Writers as Figures of Cinematic Redemption: Paul Arthur Montclair State University. Added to Your Shopping Cart.
Description Literature and Film is a cornucopia of vibrant essays that chart the history and confluence of literature and film. It explores in detail a wide and international spectrum of novels and adaptations, bringing together the very latest scholarship in the field.cinfuncsinchali.ga
Citation Styles for "Literature and film : a guide to the theory and practice of film adaptation"
Hinting at the idea that Stam's work might have been superfluous is arrogant, even blasphemic, especially since what he says in this third volume is eloquent, well said and very true. Stam starts off with an excellent analysis of Spike Jonze's and Charlie Kaufman's hilariously meta-adaptational film Adaptation , which enables him to mix thematical close-reading with theoretical observations. From there on Stam in his tongue-in-cheek-tone gradually and systematically explores the pitfalls, prejudices and difficulties surrounding the format of adaptations.
He examines the interesting ontological and experiential differences between film and literature and he offers a defense of the phenomenon with the help of major filmic and literary theorists like Derrida, Deleuze, Gaudreault, Genette, Kristeva, Barthes and Bakthin. After a helpful status quaestionis comes the part in which Stam will offer "some modest proposals for dealing with the narrative, thematic and stylistic aspects of filmic adaptations of novels" p.
Literature and Film: A Guide to the Theory and Practice of Film Adaptation
It might seem disappointing that this volume is so much of an introduction, and less of the innovative and eye-opening Stam-sequel one might have expected. However, considered in its own right, it offers an interesting outset for anyone ready to explore the field of Adaptation Studies. Here comes the tricky part.
- Blood Red Rings (Dangerous Women & Desperate Men);
- Anglo-Irish Relations: 1798–1922 (Questions and Analysis in History).
- Le Retour de Linou (French Edition).
- El universo para Ulises: ¿Y si todo el universo estuviera en un libro? (Spanish Edition)?
Stam's contribution is and is not to be considered in its own right, since it does not even take up one sixth of the pages long volume. To fill up the remaining pages, he has summoned his adaptational disciples around him to provide for test cases of the "model", adaptational case-studies against different social, ethnic and productional backgrounds. Practically all followers reverently refer to The Master himself within their essays, mostly to his use of bakthinian dialogism and carnivalesque transgression, but let us be fair, since the pages overview does not offer a strict theoretical paradigm, the group of contributors could hardly be called a "School".
Literature and Film: A Guide to the Theory and Practice of Film Adaptation - Google Книги
They are able to pay lip-service to the editor, while writing adaptational case-studies -however interesting- in pretty much the same way as they could have done so ten years ago and indeed, this has been the case for one article in this volume , while a mix of editorial policies, politeness, and moderation has kept the contributors from engaging in polemics, either with Stam or with each other.
Many analyses are still flirting with binary oppositions between the novelistic and the filmic version, while some others get round the problem in mainly ignoring the mediacy of the story. Hardly anyone dwells on "trivial" extra-filmic elements that might influence casting, production or reception, on remakes of adaptations as adaptations, on cognition or reception e.
The case-studies do what they are supposed to do: