Jack Zipes
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691160580
- eISBN:
- 9781400852581
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160580.003.0004
- Subject:
- Literature, Folk Literature
This chapter concentrates on two key features of the Americanization of the Grimms' tales: the English and American translations and adaptations of the Grimms' tales from 1823 to the present, and the ...
More
This chapter concentrates on two key features of the Americanization of the Grimms' tales: the English and American translations and adaptations of the Grimms' tales from 1823 to the present, and the filmic adaptation of the Grimms' tales in the age of globalization. It also briefly discusses three significant essays and an anthology of European folk and fairy tales that provide important information and analyses of the Americanization of the Grimms' tales: “The Tales of the Brothers Grimm in the United States” (1963) by Wayland Hand; “The Americanization of the Brothers Grimm” (1998) by Simon Bronner; and Cinderella in America: A Book of Folk and Fairy Tales (2007), edited and compiled by William Bernard McCarthy. The chapter then analyzes the literary translations and the cinematic adaptations of the Grimms' tales.Less
This chapter concentrates on two key features of the Americanization of the Grimms' tales: the English and American translations and adaptations of the Grimms' tales from 1823 to the present, and the filmic adaptation of the Grimms' tales in the age of globalization. It also briefly discusses three significant essays and an anthology of European folk and fairy tales that provide important information and analyses of the Americanization of the Grimms' tales: “The Tales of the Brothers Grimm in the United States” (1963) by Wayland Hand; “The Americanization of the Brothers Grimm” (1998) by Simon Bronner; and Cinderella in America: A Book of Folk and Fairy Tales (2007), edited and compiled by William Bernard McCarthy. The chapter then analyzes the literary translations and the cinematic adaptations of the Grimms' tales.
Hsiu-Chuang Deppman
- Published in print:
- 2010
- Published Online:
- November 2016
- ISBN:
- 9780824833732
- eISBN:
- 9780824870782
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824833732.001.0001
- Subject:
- Society and Culture, Asian Studies
Contemporary Chinese films are popular with audiences worldwide, but a key reason for their success has gone unnoticed: many of the films are adapted from brilliant literary works. This book is the ...
More
Contemporary Chinese films are popular with audiences worldwide, but a key reason for their success has gone unnoticed: many of the films are adapted from brilliant literary works. This book is the first to put these landmark films in the context of their literary origins and explore how the best Chinese directors adapt fictional narratives and styles for film. The book argues that the rise of cinema in China, Hong Kong, and Taiwan in the late 1980s was partly fueled by burgeoning literary movements. Fifth Generation director Zhang Yimou’s highly acclaimed films Red Sorghum, Raise the Red Lantern, and To Live are built on the experimental works of Mo Yan, Su Tong, and Yu Hua, respectively. Hong Kong new wave’s Ann Hui and Stanley Kwan capitalized on the irresistible visual metaphors of Eileen Chang’s postrealism. Hou Xiaoxian’s new Taiwan cinema turned to fiction by Huang Chunming and Zhu Tianwen for fine-grained perspectives on class and gender relations. The seven in-depth studies include a diverse array of forms (cinematic adaptation of literature, literary adaptation of film, auto-adaptation, and non-narrative adaptation) and a variety of genres (martial arts, melodrama, romance, autobiography, documentary drama). Complementing this formal diversity is a geographical range that far exceeds the cultural, linguistic, and physical boundaries of China. The directors represented here also work in the United States and Europe and reflect the growing international resources of Chinese-language cinema.Less
Contemporary Chinese films are popular with audiences worldwide, but a key reason for their success has gone unnoticed: many of the films are adapted from brilliant literary works. This book is the first to put these landmark films in the context of their literary origins and explore how the best Chinese directors adapt fictional narratives and styles for film. The book argues that the rise of cinema in China, Hong Kong, and Taiwan in the late 1980s was partly fueled by burgeoning literary movements. Fifth Generation director Zhang Yimou’s highly acclaimed films Red Sorghum, Raise the Red Lantern, and To Live are built on the experimental works of Mo Yan, Su Tong, and Yu Hua, respectively. Hong Kong new wave’s Ann Hui and Stanley Kwan capitalized on the irresistible visual metaphors of Eileen Chang’s postrealism. Hou Xiaoxian’s new Taiwan cinema turned to fiction by Huang Chunming and Zhu Tianwen for fine-grained perspectives on class and gender relations. The seven in-depth studies include a diverse array of forms (cinematic adaptation of literature, literary adaptation of film, auto-adaptation, and non-narrative adaptation) and a variety of genres (martial arts, melodrama, romance, autobiography, documentary drama). Complementing this formal diversity is a geographical range that far exceeds the cultural, linguistic, and physical boundaries of China. The directors represented here also work in the United States and Europe and reflect the growing international resources of Chinese-language cinema.
Mimi Reisel Gladstein
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033556
- eISBN:
- 9780813038353
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033556.003.0012
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter examines how the 1944 film adaptation starring Humphrey Bogart and directed by Howard Hawks, from a screenplay coauthored by William Faulkner, imposed a patriotic plot upon the book's ...
More
This chapter examines how the 1944 film adaptation starring Humphrey Bogart and directed by Howard Hawks, from a screenplay coauthored by William Faulkner, imposed a patriotic plot upon the book's proletarian politics. It concludes with the theoretical basis for the thesis that To Have and Have Not is an acceptable adaptation of Hemingway's novel. A cinematic adaptation does not necessarily have to be a point-by-point graphic illustration of a literary text. It can be a variation on the narrative framework, an artistic re-creation of the characters and some circumstances of the original. Without attempting literal, page-by-page fidelity to its source, a satisfactory adaptation can be something very much like the multiple versions of Greek and Roman myths that the ancient bards produced in their telling, retelling, and elaborating on the stories.Less
This chapter examines how the 1944 film adaptation starring Humphrey Bogart and directed by Howard Hawks, from a screenplay coauthored by William Faulkner, imposed a patriotic plot upon the book's proletarian politics. It concludes with the theoretical basis for the thesis that To Have and Have Not is an acceptable adaptation of Hemingway's novel. A cinematic adaptation does not necessarily have to be a point-by-point graphic illustration of a literary text. It can be a variation on the narrative framework, an artistic re-creation of the characters and some circumstances of the original. Without attempting literal, page-by-page fidelity to its source, a satisfactory adaptation can be something very much like the multiple versions of Greek and Roman myths that the ancient bards produced in their telling, retelling, and elaborating on the stories.
Elisa Pezzotta
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617038938
- eISBN:
- 9781621039822
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617038938.001.0001
- Subject:
- Film, Television and Radio, Film
Although Stanley Kubrick adapted novels and short stories, his films deviate in notable ways from the source material. In particular, since 2001: A Space Odyssey (1968), they seem to definitively ...
More
Although Stanley Kubrick adapted novels and short stories, his films deviate in notable ways from the source material. In particular, since 2001: A Space Odyssey (1968), they seem to definitively exploit all cinematic techniques, embodying a compelling visual and aural experience. But, as the author of this book contends, it is for these reasons that Kubrick’s cinema becomes the supreme embodiment of the sublime, fruitful encounter between the two arts and, simultaneously, of their independence. Kubrick’s last six adaptations—2001: A Space Odyssey, A Clockwork Orange (1971), Barry Lyndon (1975), The Shining (1980), Full Metal Jacket (1987), and Eyes Wide Shut (1999)—are characterized by certain structural and stylistic patterns. These features help us to draw conclusions about the role of Kubrick in the history of cinema, about his role as an adapter, and, more generally, about the art of cinematic adaptations. The structural and stylistic patterns that characterize Kubrick adaptations seem to criticize scientific reasoning, causality, and traditional semantics. In the history of cinema, Kubrick can be considered a modernist auteur, and in particular, can be regarded as an heir of the modernist avant-garde of the 1920s. However, this book concludes that, unlike his predecessors, he creates a cinema not only centered on the ontology of the medium, but on the staging of sublime, new experiences.Less
Although Stanley Kubrick adapted novels and short stories, his films deviate in notable ways from the source material. In particular, since 2001: A Space Odyssey (1968), they seem to definitively exploit all cinematic techniques, embodying a compelling visual and aural experience. But, as the author of this book contends, it is for these reasons that Kubrick’s cinema becomes the supreme embodiment of the sublime, fruitful encounter between the two arts and, simultaneously, of their independence. Kubrick’s last six adaptations—2001: A Space Odyssey, A Clockwork Orange (1971), Barry Lyndon (1975), The Shining (1980), Full Metal Jacket (1987), and Eyes Wide Shut (1999)—are characterized by certain structural and stylistic patterns. These features help us to draw conclusions about the role of Kubrick in the history of cinema, about his role as an adapter, and, more generally, about the art of cinematic adaptations. The structural and stylistic patterns that characterize Kubrick adaptations seem to criticize scientific reasoning, causality, and traditional semantics. In the history of cinema, Kubrick can be considered a modernist auteur, and in particular, can be regarded as an heir of the modernist avant-garde of the 1920s. However, this book concludes that, unlike his predecessors, he creates a cinema not only centered on the ontology of the medium, but on the staging of sublime, new experiences.
Yifen T. Beus
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231163378
- eISBN:
- 9780231850254
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231163378.003.0008
- Subject:
- Film, Television and Radio, Film
This chapter argues that one of the most effective strategies of resisting the Western centre is through the ‘writing of Otherness’ — namely, by using adaptations of Western texts as a method of ...
More
This chapter argues that one of the most effective strategies of resisting the Western centre is through the ‘writing of Otherness’ — namely, by using adaptations of Western texts as a method of writing back. The African cinematic adaptations of the Romantic novella and opera, Carmen (1845), show how such films utilise the motif of Carmen and intertextuality as rhetorical tropes, navigating between the colonial and postcolonial story spaces in an act of returning the gaze while displaying a self-reflexivity about the politics of storytelling and representation. By appropriating and thus re-writing a famous Western story about a non-Western, exotic femme fatale, the African Carmen is able to use the same cultural specificity as portrayed in colonial writing to deconstruct the whole myth of this ‘primitive’ dance and to construct a new story that is African in its very essence, while recognising the obvious hybrid nature of the medium itself.Less
This chapter argues that one of the most effective strategies of resisting the Western centre is through the ‘writing of Otherness’ — namely, by using adaptations of Western texts as a method of writing back. The African cinematic adaptations of the Romantic novella and opera, Carmen (1845), show how such films utilise the motif of Carmen and intertextuality as rhetorical tropes, navigating between the colonial and postcolonial story spaces in an act of returning the gaze while displaying a self-reflexivity about the politics of storytelling and representation. By appropriating and thus re-writing a famous Western story about a non-Western, exotic femme fatale, the African Carmen is able to use the same cultural specificity as portrayed in colonial writing to deconstruct the whole myth of this ‘primitive’ dance and to construct a new story that is African in its very essence, while recognising the obvious hybrid nature of the medium itself.
