Twentieth-Century American Fiction on ScreenR. Barton Palmer Cambridge University Press, 22.02.2007 - 257 Seiten 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. |
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Häufige Begriffe und Wortgruppen
actors adaptation African-American Altman American audience Beauchamp Beloved Beloved's Berenice Boyum Burroughs camera career Carson McCullers Celie characters Chick cinema cited parenthetically Color Purple comic context critics David Cronenberg death Denver director Dresden Emery Faulkner Faye fiction figure film's filmmakers Fitzgerald Frankie Further quotations Geller genre Hemingway Hemingway's story Hollywood Homer Honey human Humbert Huston John Huston Jones Katherine Anne Porter Kazan Killers Kramer Kubrick Last Tycoon literary Locust Lolita look Lyne Malick McCullers Motes Motes's movie Nabokov Naked Lunch narrative narrator novel novelist O'Connor's Pilgrim Pinter play production racial role Saving Private Ryan scene Schlesinger Scott Fitzgerald screen screenplay screenwriter script sense sequence Sethe Sethe's sexual Ship of Fools shot Siegel Siegel's film Siodmak's film Slaughterhouse-Five Spielberg Stahr studio suggests Thalberg Thin Red Line tion Tralfamadore Tralfamadorians viewer visual voiceover Vonnegut Walker West’s Wise Blood writing York
Beliebte Passagen
Seite 14 - The romancer does not attempt to create "real people" so much as stylized figures which expand into psychological archetypes. It is in the romance that we find Jung's libido, anima, and shadow reflected in the hero, heroine, and villain respectively. That is why the romance so often radiates a glow of subjective intensity that the novel lacks, and why a suggestion of allegory is constantly creeping in around its fringes.
Seite 11 - ... and emotion from one human being to another, was becoming subordinated to a mechanical and communal art that, whether in the hands of Hollywood merchants or Russian idealists, was capable of reflecting only the tritest thought, the most obvious emotion. It was an art in which words were subordinate to images, where personality was worn down to the inevitable low gear of collaboration.
Seite 15 - He was a marker in industry like Edison and Lumiere and Griffith and Chaplin. He led pictures way up past the range and power of the theatre, reaching a sort of golden age, before the censorship.
Seite 11 - I saw that the novel, which at my maturity was the strongest and supplest medium for conveying thought and emotion from one human being to another, was becoming subordinated to a mechanical and communal art that, whether in the hands of Hollywood merchants or Russian idealists, was capable of reflecting only the tritest thought, the most obvious emotion.