Filmmaking by the book : Italian cinema and literary adaptation

著者

書誌事項

Filmmaking by the book : Italian cinema and literary adaptation

Millicent Marcus

Johns Hopkins University Press, c1993

  • hc : acid-free paper
  • pbk : acid-free paper

大学図書館所蔵 件 / 全4件

この図書・雑誌をさがす

注記

Includes bibliographical references and index

遡及データをもとにした流用入力

内容説明・目次

巻冊次

hc : acid-free paper ISBN 9780801844546

内容説明

"An important and original book that breaks new ground and provides compelling interpretations of Italy's most important directors and their experiences with adaptations of literary works."--Peter Bondanella, Center for Italian Studies, Indiana University.

目次

Preface Acknowledgments Introduction. Literature and Filme: Negotiating the Terms Chapter 1. Visonti's La terra trema: The Typology of Adaptation Chapter 2. Visonti's Leopard: The Politics of Adaptation Chapter 3. De Sica's Two Women: Realigning the Gaze Chapter 4. De Sica's Garden of the Finzi-Continis: An Escapist Paradise Lost Chapter 5. Pasolini's Gospel According to St. Matthew: The Gaze of Faith Chapter 6. Pasolini's Decameron: Writing With Bodies Chapter 7. The Tavianis' Padre padrone: The Critical Acquisition of Codes Chapter 8. The Tavianis' Kaos: The Poetics of Adaptation Chapter 9. Fellini's Casanova: Adaptation by Self-Projection Chapter 10. Fellini's La voce della luna: Resisting Postmodernism Appendix: Film Synopsis and Credits Notes Index
巻冊次

pbk : acid-free paper ISBN 9780801844553

内容説明

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.

目次

Preface Acknowledgments Introduction. Literature and Filme: Negotiating the Terms Chapter 1. Visonti's La terra trema: The Typology of Adaptation Chapter 2. Visonti's Leopard: The Politics of Adaptation Chapter 3. De Sica's Two Women: Realigning the Gaze Chapter 4. De Sica's Garden of the Finzi-Continis: An Escapist Paradise Lost Chapter 5. Pasolini's Gospel According to St. Matthew: The Gaze of Faith Chapter 6. Pasolini's Decameron: Writing With Bodies Chapter 7. The Tavianis' Padre padrone: The Critical Acquisition of Codes Chapter 8. The Tavianis' Kaos: The Poetics of Adaptation Chapter 9. Fellini's Casanova: Adaptation by Self-Projection Chapter 10. Fellini's La voce della luna: Resisting Postmodernism Appendix: Film Synopsis and Credits Notes Index

「Nielsen BookData」 より

詳細情報

ページトップへ