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In a daring rewrite of literary history, this volume argues that
the medieval poet and musician Guillaume de Machaut was the major
influence in narrative craft during the late Middle Ages and long
after. Examining Machaut's series of debate poems, part of the
French tradition of the "dit amoureux" (love tales), contributors
highlight the genre's authorial self-consciousness, polyvocality,
and ambiguity of judgment. They contend that Machaut led the way in
developing and spreading these radical techniques and that his
innovations in form and content were forerunners of the modern
novel.
This book gathers together essays written by leading scholars of
adaptation studies to explore the full range of practices and
issues currently of concern in the field. The chapters demonstrate
how content and messaging are shared across an increasing number of
platforms, whose interrelationships have become as intriguing as
they are complex. Recognizing that a signature feature of
contemporary culture is the convergence of different forms of
media, the contributors of this book argue that adaptation studies
has emerged as a key discipline that, unlike traditional literary
and art criticism, is capable of identifying and analyzing the
relations between source texts and adaptations created from them.
Adaptation scholars have come to understand that these relations
not only play out in individual case histories but are also
institutional, and this collection shows how adaptation plays a key
role in the functioning of cinema, television, art, and print
media. The volume is essential reading for all those interested
both in adaptation studies and also in the complex forms of
intermediality that define contemporary culture in the 21st
century.
This book offers the first comprehensive discussion of the
relationship between Modern Irish Literature and the Irish cinema,
with twelve chapters written by experts in the field that deal with
principal films, authors, and directors. This survey outlines the
influence of screen adaptation of important texts from the national
literature on the construction of an Irish cinema, many of whose
films because of cultural constraints were produced and exhibited
outside the country until very recently. Authors discussed include
George Bernard Shaw, Oscar Wilde, Liam O'Flaherty, Christy Brown,
Edna O'Brien, James Joyce, and Brian Friel. The films analysed in
this volume include THE QUIET MAN, THE INFORMER, MAJOR BARBARA, THE
GIRL WITH GREEN EYES, MY LEFT FOOT, THE PICTURE OF DORIAN GRAY, THE
SNAPPER, and DANCING AT LUGHNASA. The introduction features a
detailed discussion of the cultural and political questions raised
by the promotion of forms of national identity by Ireland's
literary and cinematic establishments.
During more than two decades (1932-1954), William Faulkner worked
on approximately fifty screenplays for studios, including MGM, 20th
Century-Fox, and Warner Bros., and was credited on such classic
films as The Big Sleep and To Have and Have Not. The scripts that
Faulkner wrote for film and, later on, television constitute an
extensive and, until now, thoroughly underexplored archival source.
Stefan Solomon not only analyzes the majority of these scripts but
compares them to the novels and short stories Faulkner was writing
at the same time. Solomon's aim is to reconcile two aspects of a
career that were not as distinct as they first might seem: Faulkner
as a screenwriter and Faulkner as a high modernist, Nobel
Prize-winning author. Faulkner's Hollywood sojourns took place
during a period roughly bounded by the publication of Light in
August (1932) and A Fable (1954) and that also saw the publication
of Absalom, Absalom!; Go Down, Moses; and Intruder in the Dust. As
Solomon shows Faulkner attuning himself to the idiosyncrasies of
the screen writing process (a craft he never favored or admired),
he offers insights into Faulkner's compositional practice, thematic
preoccupations, and understanding of both classic cinema and the
emerging medium of television. In the midst of this complex
exchange of media and genres, much of Faulkner's fiction of the
1930s and 1940s was directly influenced by his protracted
engagement with the film industry. Solomon helps us to see a corpus
integrating two vastly different modes of writing and a restless
author, sensitive to the different demands of each. Faulkner was
never simply the southern novelist or the West Coast "hack writer"
but always both at once. Solomon's study shows that Faulkner's
screenplays are crucial in any consideration of his far more
esteemed fiction and that the two forms of writing are more porous
and intertwined than the author himself would have us believe. Here
is a major American writer seen in a remarkably new way.
In this book, each chapter explores significant Irish texts in
their literary, cultural, and historical contexts. With an
introduction that establishes the multiple critical contexts for
Irish cinema, literature, and their adaptive textual worlds, the
volume addresses some of the most popular and important late
20th-Century and 21st Century works that have had an impact on the
Irish and global cinema and literary landscape. A remarkable series
of acclaimed and profitable domestic productions during the past
three decades has accompanied, while chronicling, Ireland's
struggle with self-identity, national consciousness, and cultural
expression, such that the story of contemporary Irish cinema is in
many ways the story of the young nation's growth pains and
travails. Whereas Irish literature had long stood as the nation's
foremost artistic achievement, it is not too much to say that film
now rivals literature as Ireland's key form of cultural expression.
The proliferation of successful screen versionings of Irish fiction
and drama shows how intimately the contemporary Irish cinema is
tied to the project of both understanding and complicating (even
denying) a national identity that has undergone radical change
during the past three decades. This present volume is the first to
present a collective accounting of that productive synergy, which
has seen so much of contemporary Irish literature transferred to
the screen.
The rise of an influential new family of poetry in the Middle Ages
This book is the first collective examination of Late Medieval
intimate first-person narratives that blurred the lines between
author, narrator, and protagonist and usually feature
personification allegory and courtly love tropes, creating an
experimental new family of poetry. In this volume, contributors
analyze why the allegorical first-person romance embedded itself in
the vernacular literature of Western Europe and remained popular
for more than two centuries. The editors identify and discuss three
predominant forms within this family: debate poetry, dream
allegories, and autobiographies. Contributors offer textual
analyses of key works from late medieval German, French, Italian,
and Iberian literature, with discussion of developments in England,
as well. Allegory and the Poetic Self offers a sophisticated,
theoretically current discussion of relevant literature. This
exploration of medieval "I" narratives offers insights not just
into the premodern period but also into Western literature's
subsequent traditions of self-analysis and identity crafting
through storytelling.
Published in 1984: This book is a translated medieval text of Poems
concerning The Judgement of the King of Bohemia.
Originally published in 1988, this volume includes the full text
and translation of The Judgment of the King of Navarre by Guillaume
de Machaut, alongside textual and biographical notes includiging
the life of the author, comparative studies of Chaucer and Machaut,
and criticism and study guides.
Published in 1984: This book is a translated medieval text of Poems
concerning The Judgement of the King of Bohemia.
Originally published in 1988, this volume includes the full text
and translation of The Judgment of the King of Navarre by Guillaume
de Machaut, alongside textual and biographical notes includiging
the life of the author, comparative studies of Chaucer and Machaut,
and criticism and study guides.
This volume offers newly translated texts that exemplify the two
most important traditions of Arthurian literature in the Middle
Ages. Encompassing such key works such as Lawman's Brut and Wace's
Romance of Brut, written respectively in Middle English and Old
French, the Arthurian Epic Tradition depends on Geoffrey of
Monmouth's History of the Kings of Britain, written in Latin. Many
modern readers are more familiar with Arthur and his fabled court
as the centrepiece of a massive Fictional Tradition, well
represented in the second part of this volume, including Chretien
de Troyes's Story of the Grail, The Quest of the Holy Grail, and
the Perlesvaus. These selections emphasise the connection between
secular and religious understandings of chivalry that is the most
distinctive quality of medieval Arthurian romance. Useful as a
classroom text, the volume provides material for a semester's worth
of study.
The essays in this collection analyse major film adaptations of
twentieth-century American fiction, from F. Scott Fitzgerald's The
Last Tycoon to Toni Morrison's Beloved. During the century, films
based on American literature came to play a central role in the
history of the American cinema. Combining cinematic and literary
approaches, this volume explores the adaptation process from
conception through production and reception. The contributors
explore the ways political and historical contexts have shaped the
transfer from book to screen, and the new perspectives that films
bring to literary works. In particular, they examine how the
twentieth-century literary modes of realism, modernism, and
postmodernism have influenced the forms of modern cinema. Written
in a lively and accessible style, the book includes production
stills and full filmographies. Together with its companion volume
on nineteenth-century fiction, the volume offers a comprehensive
account of the rich tradition of American literature on screen.
This is the first edition in more than a century and the first modern English translation of the crowning masterwork of Machaut's literary career. Based on his extensive discussion with returning crusaders, the poet recounts King Peter I of Cyprus's successful attack and capture of the Egyptian city of Alexandria in 1365. This volume features a full discussion of Machaut's life and career, historical commentary, extensive annotation and a select bibliography.
This collection presents new essays in the complex field of French
literary adaptation. Using a variety of textual and interpretive
approaches, it sheds light on issues of gender, sexuality, class,
politics and social conventions while acknowledging a range of
contexts, from the commercial to the archival and the aesthetic.
The chapters, written by eminent international scholars, run
chronologically from The Count of Monte Cristo through Proust and
Bonjour, Tristesse to Philippe Djian's Oh... (adapted for the
screen as Elle). Collectively, they fill a need for contemporary
discussions on the significance of France's literary
representations in the history of global cinema. -- .
In the late 1960s, the collapse of the classic Hollywood studio
system led in part, and for less than a decade, to a production
trend heavily influenced by the international art cinema.
Reflecting a new self-consciousness in the US about the national
film patrimony, this period is known as the Hollywood Renaissance.
However, critical study of the period is generally associated with
its so-called principal auteurs, slighting a number of established
and emerging directors who were responsible for many of the era's
most innovative and artistically successful releases.With
contributions from leading film scholars, this book provides a
revisionist account of this creative resurgence by discussing and
memorializing twenty-four directors of note who have not yet been
given a proper place in the larger history of the period. Including
filmmakers such as Hal Ashby, John Frankenheimer, Mike Nichols, and
Joan Micklin Silver, this more expansive approach to the auteurism
of the late 1960s and 1970s seems not only appropriate but pressing
a necessary element of the re-evaluation of 'Hollywood' with which
cinema studies has been preoccupied under the challenges posed by
the emergence and flourishing of new media.
The process of translating works of literature to the silver screen
is a rich field of study for both students and scholars of
literature and cinema. The fourteen essays collected in this 2007
volume provide a survey of the important films based on, or
inspired by, nineteenth-century American fiction, from James
Fenimore Cooper's The Last of the Mohicans to Owen Wister's The
Virginian. Many of the major works of the American canon are
included, including The Scarlet Letter, Moby Dick and Sister
Carrie. The starting point of each essay is the literary text
itself, moving on to describe specific aspects of the adaptation
process, including details of production and reception. Written in
a lively and accessible style, the book includes production stills
and full filmographies. Together with its companion volume on
twentieth-century fiction, the volume offers a comprehensive
account of the rich tradition of American literature on screen.
In the early days of filmmaking, before many of Hollywood's
elaborate sets and soundstages had been built, it was common for
movies to be shot on location. Decades later, Hollywood filmmakers
rediscovered the practice of using real locations and documentary
footage in their narrative features. Why did this happen? What
caused this sudden change? Renowned film scholar R. Barton Palmer
answers this question in Shot on Location by exploring the
historical, ideological, economic, and technological developments
that led Hollywood to head back outside in order to capture footage
of real places. His groundbreaking research reveals that wartime
newsreels had a massive influence on postwar Hollywood film,
although there are key distinctions to be made between these movies
and their closest contemporaries, Italian neorealist films.
Considering how these practices were used in everything from war
movies like Twelve O'Clock High to westerns like The Searchers,
Palmer explores how the blurring of the formal boundaries between
cinematic journalism and fiction lent a ""reality effect"" to
otherwise implausible stories. Shot on Location describes how the
period's greatest directors, from Alfred Hitchcock to Billy Wilder,
increasingly moved beyond the confines of the studio. At the same
time, the book acknowledges the collaborative nature of
moviemaking, identifying key roles that screenwriters, art
designers, location scouts, and editors played in incorporating
actual geographical locales and social milieus within a fictional
framework. Palmer thus offers a fascinating behind-the-scenes look
at how Hollywood transformed the way we view real spaces.
This is a critical analysis of magic realism in the cinema of East
Central Europe. This survey explores the interlocking complexities
of two concepts: magic realism and East Central Europe. Each is a
fascinating hybrid that resonates with dominant currents in
contemporary thought on transnationalism, globalisation, and
regionalism. Aga Skrodzka moves the current debate over magic
realism's political impact from literary studies to film studies.
Her close textual analysis of films by directors such as Jan
Svankmajer, Jan Jakub Kolski, Martin Sulik, Ivo Trajkov, Dorota
Kedzierzawska, Ildiko Enyedi, Bela Tarr and Emir Kusturica is
accompanied by an investigation of the socio-economic and political
context in order to both study and popularise an important and
unique tradition in world cinema. The directors' artistic
achievements illuminate the connections between a particular
aesthetics and the social structure of East Central Europe at a
precise moment of contemporary history.
This book offers the first comprehensive discussion of the
relationship between Modern Irish Literature and the Irish cinema,
with twelve chapters written by experts in the field that deal with
principal films, authors, and directors. This survey outlines the
influence of screen adaptation of important texts from the national
literature on the construction of an Irish cinema, many of whose
films because of cultural constraints were produced and exhibited
outside the country until very recently. Authors discussed include
George Bernard Shaw, Oscar Wilde, Liam O'Flaherty, Christy Brown,
Edna O'Brien, James Joyce, and Brian Friel. The films analysed in
this volume include THE QUIET MAN, THE INFORMER, MAJOR BARBARA, THE
GIRL WITH GREEN EYES, MY LEFT FOOT, THE PICTURE OF DORIAN GRAY, THE
SNAPPER, and DANCING AT LUGHNASA. The introduction features a
detailed discussion of the cultural and political questions raised
by the promotion of forms of national identity by Ireland's
literary and cinematic establishments.
From its beginnings, the American film industry has profited from
bringing popular and acclaimed dramatic works to the screen. This
is the first book to offer a comprehensive account, focusing on key
texts, of how Hollywood has given a second and enduring life to
such classics of the American theater as Long Day's Journey into
Night, A Streetcar Named Desire and Who's Afraid of Virginia Woolf?
Each chapter is written by a leading scholar and focuses on
Broadway's most admired and popular productions. The book is
ideally suited for classroom use and offers an otherwise
unavailable introduction to a subject which is of great interest to
students and scholars alike.
Appalachia resides in the American imagination at the intersections
of race and class in a very particular way, in the tension between
deep historic investments in seeing the region as "pure white
stock" and as deeply impoverished and backward. Meredith
McCarroll's Unwhite analyzes the fraught location of Appalachians
within the southern and American imaginaries, building on studies
of race in literary and cinematic characterizations of the American
South. Not only do we know what "rednecks" and "white trash" are,
McCarroll argues, we rely on the continued use of such categories
in fashioning our broader sense of self and other. Further, we
continue to depend upon the existence of the region of Appalachia
as a cultural construct. As a consequence, Appalachia has long been
represented in the collective cultural history as the lowest, the
poorest, the most ignorant, and the most laughable community.
McCarroll complicates this understanding by asserting that white
privilege remains intact while Appalachia is othered through
reliance on recognizable nonwhite cinematic stereotypes. Unwhite
demonstrates how typical characterizations of Appalachian people
serve as foils to set off and define the "whiteness" of the
non-Appalachian southerners. In this dynamic, Appalachian
characters become the racial other. Analyzing the representation of
the people of Appalachia in films such as Deliverance, Cold
Mountain, Medium Cool, Norma Rae, Cape Fear, The Killing Season,
and Winter's Bone through the critical lens of race and
specifically whiteness, McCarroll offers a reshaping of the
understanding of the relationship between racial and regional
identities.
The Ghost and Mrs. Muir, The Barefoot Contessa, and All About
Eve-just three of the most well-known films of writer, director,
and producer Joseph L. Mankiewicz. This work contains, first,
critical essays about the man and his work, and then presents a
guide to resources, an annotated bibliography, and a filmography.
The essays on each of his films are categorised under Mankiewicz's
Dark Cinema, The Mankiewicz Woman, Filmed Theatre, and Literary
Adaptations. The annotated bibliography includes writings by and
about Mankiewicz; the filmography includes full cast and credit
information and other data. Information on Mankiewicz's awards,
miscellaneous and unrealised projects, and film festivals honouring
him is also provided.
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