Filmmaking by the book : Italian cinema and literary adaptation
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Bibliographic Information
Filmmaking by the book : Italian cinema and literary adaptation
Johns Hopkins University Press, c1993
- hc : acid-free paper
- pbk : acid-free paper
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Includes bibliographical references and index
遡及データをもとにした流用入力
Description and Table of Contents
- Volume
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hc : acid-free paper ISBN 9780801844546
Description
"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.
Table of Contents
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
- Volume
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pbk : acid-free paper ISBN 9780801844553
Description
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.
Table of Contents
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
by "Nielsen BookData"