What is the impulse to transform literary narrative into
cinematic discourse, and what are the factors that determine that
transformation? In "Filmmaking by the Book," Millicent Marcus
considers the adaptive process as the sum total of a series of
encounters: the institutional encounter between literary and film
cultures, the semiotic encounter between two very different
signifying systems, and the personal encounter between author and
filmmaker--sometimes involving an overt Oedipal struggle for
selfhood.
Marcus explores that process by looking at key works by such
major postwar Italian filmmakers as Visconti, De Sica, Pasolini,
Fellini, and the Taviani brothers. Drawing on the methodologies of
semiotics, psychoanalysis, feminism, and ideological criticism, she
finds that cinematic imaginations typically employ literary texts
self-consciously to resolve specific artistic problems. Each of the
filmmakers studied here define their own authorial task in relation
to that of the literary precursor, and insert "umbilical" scenes or
"allegories of adaptation" to teach viewers how to read their
cinematic rewriting of literary sources.
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