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Verlag: Johns Hopkins University Press, 1992
ISBN 10: 080184455X ISBN 13: 9780801844553
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ISBN 10: 080184455X ISBN 13: 9780801844553
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ISBN 10: 080184455X ISBN 13: 9780801844553
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Verlag: Johns Hopkins University Press, 1992
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Sprache: Englisch
Verlag: The Johns Hopkins University Press 01/12/1992, 1992
ISBN 10: 080184455X ISBN 13: 9780801844553
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Verlag: Johns Hopkins University Press, 1992
ISBN 10: 080184455X ISBN 13: 9780801844553
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In den WarenkorbZustand: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Each of the filmmakers studied here define their own authorial task in relation to that of the literary precursor, and insert umbilicalscenes or allegories of adaptationto teach viewers how to read their cinematic rewriting of literary sources.&Uu.
Sprache: Englisch
Verlag: Johns Hopkins University Press, 1992
ISBN 10: 080184455X ISBN 13: 9780801844553
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Taschenbuch. Zustand: Neu. Filmmaking by the Book | Italian Cinema and Literary Adaptation | Millicent Marcus | Taschenbuch | Einband - flex.(Paperback) | Englisch | 1992 | Johns Hopkins University Press | EAN 9780801844553 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand.
Sprache: Englisch
Verlag: Johns Hopkins University Press, 1992
ISBN 10: 080184455X ISBN 13: 9780801844553
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Fotografie Print-on-Demand
Taschenbuch. Zustand: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - 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.