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Adaptation Studies is a fast-emerging discipline which has expanded
into other areas of media scholarship. With its roots in literature
and film, this discipline can be applied to much broader uses, even
as a process that governs every aspect of our lives. Indeed, by
expanding the scope of "adaptation" to encompass a larger
perspective, this discipline can promote lifelong learning that
emphasizes communication, social interaction, and aesthetic
engagement. In Adaptation Studies and Learning: New Frontiers,
Laurence Raw and Tony Gurr seek to redefine the ways in which
adaptation is taught and learned. Comprised of essays, reflections,
and "learning conversations" about the ways in which this approach
to adaptation might be implemented, this book focuses on issues of
curriculum construction, the role of technology, and the importance
of collaboration. Including a series of case-studies and classroom
experiences, the authors explore the relationship between
adaptation and related disciplines such as history, media, and
translation. The book also includes a series of case studies from
the world of cinema, showing how collaboration and social
interaction lies at the heart of successful film adaptations. By
looking beyond the classroom, Raw and Gurr demonstrate how
adaptation studies involves real-world issues of prime
importance-not only to film and theater professionals, but to all
learners. Covering a wide range of material, including film
history, educational theory, and literary criticism, Adaptation
Studies and Learning offers a radical repositioning of the way we
think about adaptation both inside and outside academia.
Since films were first produced, adapted works have predominantly
borrowed primarily from traditional texts, such as novels and
plays. Likewise, the study of film adaptations has also been fairly
traditional, rarely venturing beyond a comparison of the source
material to its often less revered counterpart. Redefining
Adaptation Studies breaks new ground in showing the range of
possibilities that transcend the literature/film paradigm. These
essays focus on the idea of 'adaptation' and what it means in
different socio-political contexts. Above all this collection shows
how cultural and political factors determine the meaning of the
term and its potential for developing new approaches to learning.
The contributors to this volume look at adaptation in different
contexts and develop new ways to approach adaptation, not just as a
literature-through-film issue but as something which can be used to
develop other skills, such as creative writing and personal and
social skills. Aimed at teachers in high schools and universities
at the under- and postgraduate levels, this volume not only
suggests how 'adaptation' might be used in different disciplines,
but how it might improve the learning experience for teachers and
students alike.
Considered one of the greatest of American authors, Nathaniel
Hawthorne (1804-1864) created a memorable body of literature, which
included the novels The Scarlet Letter and The House of Seven
Gables, as well as a wealth of short stories. In Adapting Nathaniel
Hawthorne to the Screen: Forging New Worlds, Laurence Raw
demonstrates how filmmakers have turned to Hawthorne to comment on
the nation's past, present, and future. Raw shows how some
filmmakers have tackled the difficulty of Hawthorne's material by
treating him strictly as a writer whose work was firmly situated in
American life of the mid-nineteenth century. Raw also examines how
directors have used Hawthorne's stories to comment on various
aspects of twentieth century American life. This device is
particularly evident in the many versions of The Scarlet Letter,
such as the 1950 television version broadcast two months after
Senator Joseph McCarthy's speech about State Department employees
who were "card-carrying members of the Communist Party" and 1960s
and early 70s versions supporting countercultural values where
filmmakers created characters prepared to fly in the face of
conformity and search for alternative means of existence. In this
volume, Raw also discusses adaptations of the short stories
"Feathertop," "The Snow Image," "Dr. Heidegger's Experiment," and
"Rappacinni's Daughter," as well as the novels The House of Seven
Gables and The Scarlet Letter, the latter having been transformed
into film no less than ten times. By surveying the canon of
adaptations produced over the last eight decades, this book
provides a unique insight into American social, political, and
cultural history from a variety of perspectives, underlining how
Hawthorne's work has been of enduring concern to directors and
audiences alike.
From his first feature film, The Duellists, to his international
successes Alien, Blade Runner, Thelma and Louise, Black Hawk Down,
Gladiator, and American Gangster, Ridley Scott has directed some of
the most compelling films of the last 30 years. Apart from his work
as a film director, Scott has engaged in a vast range of
activities, including that as a designer, producer, film mogul, and
advertising executive. The Ridley Scott Encyclopedia is the first
book that focuses on all aspects of his work in a wide-ranging
career that spans nearly 50 years. The entries in this encyclopedia
focus on all aspects of his work and are divided into four
categories. The first focuses on Ridley Scott's work as a director,
encompassing his feature films from The Duellists to Body of Lies,
as well as his work in television, including commercials. The
second category focuses on the people who have been involved in
Scott's projects, including actors, directors, producers,
designers, writers and other creative personnel. The third focuses
on general thematic issues raised in Scott's work, such as gender
construction, political issues, and geographical locations. Finally
the encyclopedia incorporates entries on films by other directors
who have influenced Scott's approach to his work as a director or
producer. Each entry is followed by a bibliography of published
sources, both in print and online, making this the most
comprehensive reference on Scott's body of work.
One of Henry James's main achievements as a novelist was his
ability to demonstrate how the notions of "masculinity" and
"femininity" are socially constructed, depending on a variety of
contradictory factors: social, political, sexual, and economic. His
unique capacity to understand the ideological function of
relationships often accepted as "natural" in late nineteenth
century culture resulted in works of fiction that impress upon
readers the oppressiveness inherent within them. Most adaptations
of literary classics, however, tend to be influenced by Hollywood
conventions that tend to reinforce dominant notions of gender and
heterosexual relations. Adapting a novel for cinema or television
is first and foremost a business enterprise, where the screenwriter
has to take into account the wishes of conflicting interest groups:
producers, stars, directors, and spectators. In Adapting Henry
James to The Screen: Gender, Fiction and Film, author Laurence Raw
suggests that most James adaptations have sought to shift attention
away from the classical narrative to the spectator's interaction
with that narrative. Raw demonstrates that while several
adaptations have critically engaged with the subject of gender
relations, they have often ended up by reinforcing rather than
questioning accepted norms. Yet, there are instances where
individual directors and/or screenwriters have bucked the trend and
directly engaged with what people understand by 'masculine' and
'feminine' behavior, thus focusing on how the notions of
'masculinity' and 'femininity' are socially constructed, not only
in the societies represented on screen, but in the spectators'
world as well. This book shows how changing priorities affected the
ways in which James's novels were translated to the screen, and how
they examined the theme of gender relations. Not only does this
represent a new departure for adaptation studies (which hitherto
has largely focused on issues of textual fidelity), but it is a
particularly appropriate methodology for stu
Throughout World War II, audiences in the United Kingdom craved
entertainment, even during the country's darkest days. During this
period, actor-manager Donald Wolfit and his theatre troupe toured
Great Britain and Europe-often at great risk. After the war, Wolfit
broadened his tour, bringing his brand of Shakespearean theatre to
North American audiences. Wolfit believed that theatre should be
accessible to everyone, regardless of their socioeconomic origins.
It was this quality above all that accounted for his huge
popularity throughout the fifteen years of his operation. In
Theatre of the People: Donald Wolfit's Shakespearean Productions
1937-1953, Laurence Raw looks at this tenacious personality whose
determination to serve the nation by performing Shakespeare
inspired audiences and fellow actors. Drawing on a series of
hitherto unpublished materials-including letters and
interviews-this part biography and part social history creates a
vivid picture of what life was like for the touring actor during
WWII and beyond. Recreating twelve of Wolfit's touring dates
throughout Great Britain and North America, this volume also
demonstrates theatre's importance as a source of mass entertainment
and education, as well as a propaganda tool. Despite Wolfit's
popular appeal at the time, he was doomed to remain on the
periphery of the theatrical establishment. This book contends that
Wolfit deserves to be recognized for his efforts in maintaining
public morale during times of stress. Theatre of the People will
appeal not only to those interested in drama but also to students
and scholars of history and popular entertainment in the 1940s and
1950s.
From All Quiet on the Western Front and Gone with the Wind to No
Country for Old Men and Slumdog Millionaire, many of the most
memorable films have been adapted from other sources. And while
courses on film studies are taught throughout the world, The
Pedagogy of Adaptation makes a strong case for treating adaptation
studies as a separate discipline. What makes this book unique is
its claim that adaptation is above all a creative process and not
simply a slavish imitation or reproduction of an 'original.' This
collection of essays focuses on numerous contexts to emphasize why
adaptations matter to students of literature. It is the first such
volume devoted exclusively to teaching adaptations from a
practical, teacher-centered angle. Many of the essays show how
'adaptation' as a discipline can be used to prompt reflection on
cultural, historical, and political differences. Written by
specialists in a variety of fields, ranging from film, radio,
theater, and even language studies, the book adopts a pluralistic
view of adaptation, showing how its processes vary across different
contexts and in different disciplines. Defining new horizons for
the teaching of adaptation studies, these essays draw on such
disparate sources as Frankenstein, Moby Dick, and South Park. This
volume not only provides a resource-book of lesson plans but offers
valuable pointers as to why teaching literature and film can help
develop students' skills and improve their literacy.
Critics and audiences often judge films, books and other media as
"great" -but what does that really mean? This collection of new
essays examines the various criteria by which degrees of greatness
(or not-so) are constructed-whether by personal, political or
social standards-through topics in cinema, literature and
adaptation. The contributors recognize how issues of value vary
across different cultures, and explore what those differences say
about cultural attitudes and beliefs.
In recent years adaptation studies has established itself as a
discipline in its own right, separate from translation studies. The
bulk of its activity to date has been restricted to literature and
film departments, focussing on questions of textual transfer and
adaptation of text to film. It is however, much more
interdisciplinary, and is not simply a case of transferring content
from one medium to another. This collection furthers the research
into exactly what the act of adaptation involves and whether it
differs from other acts of textual rewriting. In addition, the
'cultural turn' in translation studies has prompted many scholars
to consider adaptation as a form of inter-semiotic translation. But
what does this mean, and how can we best theorize it? What are the
semiotic systems that underlie translation and adaptation?
Containing theoretical chapters and personal accounts of actual
adaptions and translations, this is an original contribution to
translation and adaptation studies which will appeal to researchers
and graduate students.
"Whenever they see a Merchant-Ivory name, they the audience] go
with the expectation that this will be something interesting,
exciting, entertaining, and they are satisfied with that." --Ismail
Merchant Merchant-Ivory: Interviews gathers together for the first
time interviews made over the past five decades with director James
Ivory (b. 1928), producer Ismail Merchant (1936-2005), and
screenwriter Ruth Prawer Jhabvala (b. 1927). Beginning with their
earliest work in India and ending with James Ivory's last film, The
City of Your Final Destination (2009), the book traces their
careers together, while offering valuable insights into their
creative filmmaking process. The volume serves as a corrective to
the prevailing critical orthodoxy attached to Merchant-Ivory's
work, which tends to regard them as being solely concerned with
historically accurate costumes and settings. As independent
filmmakers, they have developed an idiosyncratic approach that
resists facile classification. This book shows how Merchant-Ivory
have always taken considerable care in casting their films, as well
as treating actors with respect. This is a deliberate policy,
designed to bring out one of the triumvirate's principal thematic
concerns--the impact of the "clash of cultures" on individuals.
Partly this has been inspired by their collective experiences of
living and working in different cultures. They do not offer any
answers to this issue; rather they believe that their task is
simply to raise awareness, to make filmgoers conscious of the
importance of cultural sensitivities that assume paramount
significance in any exchange, whether verbal or nonverbal. Laurence
Raw, Ankara, Turkey, is professor of English at Ba kent University.
He is author of several books, including Adapting Henry James:
Gender, Fiction, and Film; The Ridley Scott Encyclopedia; and
Impressions of the Turkish Stage.
Examining the vanguard of New Turkish Cinema, Laurence Raw shows
how these films reveal the effects of profound socio economic
change on ordinary people in contemporary Turkey. In analysis of
and personal interviews with Dervis Zaim, Zeki Demirkubuz, Semih
Kaplanoglu, Cagan Irmak, Tolga OErnek, and Palme d'Or winner Nuri
Bilge Ceylan, Raw draws connections with Turkish theater, art,
sculpture, literature, poetry, philosophy, and international
cinema. A native of England and a twenty-five-year resident of
Turkey, Raw interleaves his film discussion with thoughtful
commentary on nationalism, gender, personal identity, and cultural
pluralism.
This work profiles a stellar lineup of talented, versatile
character actors who regularly appeared in horror and science
fiction films during Hollywood's golden age. Many are well known by
genre buffs and casual fans, including Lionel Atwill, John
Carradine, Dwight Frye, Rondo Hatton, Dick Miller, J. Carroll
Naish, Maria Ouspenskaya, Glenn Strange, Edward Van Sloan, and
George Zucco. Also featured are performers not so well known but
equally at home in the horror and science fiction field, such as
Anthony Carbone, Harry Cording, Rosemary La Planche, Dick Purcell,
Elizabeth Russell and Mel Welles. A chapter is devoted to each,
complete with a biography and in-depth analyses of his or her best
performances, and together demonstrating how important these
personalities were to the success of their genre films with
audiences and critics alike.
This book examines what adaption is and what it entails, and moves
towards theorizing adaptation studies as a coherent discipline. In
recent years adaptation studies has established itself as a
discipline in its own right, separate from translation studies. The
bulk of its activity to date has been restricted to literature and
film departments, focussing on questions of textual transfer and
adaptation of text to film. It is however, much more
interdisciplinary, and is not simply a case of transferring content
from one medium to another. This collection furthers the research
into exactly what the act of adaptation involves and whether it
differs from other acts of textual rewriting. In addition, the
'cultural turn' in translation studies has prompted many scholars
to consider adaptation as a form of inter-semiotic translation. But
what does this mean, and how can we best theorize it? What are the
semiotic systems that underlie translation and adaptation?
Containing theoretical chapters and personal accounts of actual
adaptions and translations, this is an original contribution to
translation and adaptation studies which will appeal to researchers
and graduate students. "Continuum Advances in Translation Studies"
publishes cutting-edge research in the fields of translation
studies. This field has grown in importance in the modern,
globalized world, with international translation between languages
a daily occurrence. Research into the practices, processes and
theory of translation is essential and this series aims to showcase
the best in international academic and professional output.
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