Relevant bibliographies by topics / Film adaptations – History and criticism

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Film adaptations – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Film adaptations – History and criticism"

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McCallum, Robyn. "Palimpsestuous IntertextualitiesAdaptations for Young Audiences: Critical Challenges, Future Directions." International Research in Children's Literature 9, no. 2 (December 2016): 197–214. http://dx.doi.org/10.3366/ircl.2016.0202.

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Historically, literary sources have always provided a rich resource for film narratives, meaning that the history of cinema is closely intertwined with the history of film adaptation. Children's literature in particular has been a favoured source of represented narratives. Some of the earliest film adaptations were of children's texts, many of which have been readapted multiple times. Adaptation studies has been a growth area of scholarly research and debate for at least five decades. However, despite the close imbrication of the film industry and children's literature since the early twentieth century, few adaptation scholars have turned their attention to the rich resource that children's and youth culture provides. This paper surveys dominant shifts in approaches to adaptation, in particular the shift from ‘fidelity criticism’ to a dialogic intertextual approach; the recent move back to a modified form of ‘fidelity criticism’; and the cultural work that has thus far been achieved in the field of adaptation studies and children's and youth culture. In doing so it examines the critical challenges faced by scholars in the field and the potent possibilities future scholarship might pursue.
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Kartika, Bambang Aris, Nanik S. Prihatini, Sri Hastanto, and D. ,. Dharsono. "ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM." Capture : Jurnal Seni Media Rekam 10, no. 2 (April 23, 2019): 20–44. http://dx.doi.org/10.33153/capture.v10i2.2366.

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This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text
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Weiser, Frans. "Contextualizing History-as-Adaptation: An Interdisciplinary Comparison of Historical Revisionism." Adaptation 12, no. 2 (May 27, 2017): 105–17. http://dx.doi.org/10.1093/adaptation/apx009.

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Abstract The return to history in the humanities during the 1980s prompted literary and film scholars to question historiography’s empirical scientific status, as they instead argued that history shared more in common with fiction while their own fields of study provided means of democratizing the historical record. The concept of history-as-adaptation, recently introduced by Laurence Raw and Defne Ersin Tutan, and further developed by Tom Leitch, draws upon several of the same goals as these earlier revisionist critiques. This article contextualizes how external revision of history has been used by disciplines as a means of solidifying their own identities, despite the fact that history departments have not responded to such criticism. Through a cross-disciplinary analysis of the postmodern interrogation of historical claims, I seek to not only contextualize the adaptive turn but also demonstrate how the field’s comparative identity provides a means of transcending oppositional discourse. Drawing on the work of Robert Berkhofer, I establish a supplemental interpretation of history-as-adaptation, demonstrating the advantages of applying adaptive strategies to the documentary framework at the heart of historical methodology.
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Romanska, Magda. "BETWEEN HISTORY AND MEMORY: AUSCHWITZ IN AKROPOLIS, AKROPOLIS IN AUSCHWITZ." Theatre Survey 50, no. 2 (November 2009): 223–50. http://dx.doi.org/10.1017/s0040557409990056.

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In 1962, Polish director Jerzy Grotowski mounted an adaptation of playwright Stanisław Wyspiański's 1904 play Akropolis. When James MacTaggart filmed it in 1968, the production gained immediate cult status among American theatre critics, scholars, and practitioners. Although Grotowski's production had already been seen internationally (though by a very limited audience), the film made it available to those outside major theatre centers. Notwithstanding the buzz that surrounded the film's release, most of the interest was focused on the acting and the set design; the fact that the show was based on an obscure modernist drama evoked little critical comment. Although the film's voice-over translated some lines of the play, the dialogue was not the main focus of commentary about the film or criticism of the play after the film was released. In 1974, Harold Clurman wrote that “the lines [of Grotowski's adaptation] spoken at incredible speed are not dialogue; they are tortured exclamations projected in the direction of another being, but with no shape as personal address. (It has been said that a knowledge of Polish does not make the lines readily intelligible… ” Clurman sidestepped discussing the text altogether, arguing that one does not need to understand it in order to understand the production.
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Cahir, Linda Costanzo. "Engaging Film Criticism (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 1 (2007): 95. http://dx.doi.org/10.1353/flm.2007.0006.

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Jianqiang, Li. "Chinese Popular Film Criticism." Journal of Popular Culture 27, no. 2 (September 1993): 39–50. http://dx.doi.org/10.1111/j.0022-3840.1993.00039.x.

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Colin Gardner. "Some Stylistic Considerations of Free Indirect Discourse in Film Adaptations of Flaubert's Madame Bovary." Criticism 59, no. 4 (2017): 587. http://dx.doi.org/10.13110/criticism.59.4.0587.

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Bachman, Gregg. "A Review of “Film Moments: Criticism, History, Theory”." Quarterly Review of Film and Video 29, no. 4 (July 2012): 377–79. http://dx.doi.org/10.1080/10509208.2011.646106.

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Gemünden, Gerd, and Noah Isenberg. "Introduction: German-Language Film Criticism—History and Practice." New German Critique 47, no. 3 (November 1, 2020): 1–5. http://dx.doi.org/10.1215/0094033x-8607521.

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Travis, Robert. "The Routinization of Film Criticism." Journal of Popular Culture 23, no. 4 (March 1990): 51–65. http://dx.doi.org/10.1111/j.0022-3840.1990.2304_51.x.

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Dissertations / Theses on the topic "Film adaptations – History and criticism"

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Green, Bryony Rose Humphries. "A book history study of Michael Radford's filmic production William Shakespeare's The Merchant of Venice." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1710/.

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Caddy, Scott A. "(Mis)appropriating (Con)text: Jane Austen's Mansfield Park in Contemporary Literary Criticism and Film." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245361134.

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Janssens, Christian. "Maurice Maeterlinck, un auteur dans le cinéma des années 1910 et 1920: une approche historique, sociologique et esthétique." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209632.

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Si l’œuvre littéraire de Maurice Maeterlinck suscite nombre de recherches, ses activités dans le domaine du cinéma sont moins connues et moins étudiées. La présente thèse, qui s’appuie sur les concepts de la sociologie de Pierre Bourdieu, entend combler une lacune en analysant la trajectoire de l’auteur dans le champ cinématographique pendant les années 1910 et 1920, c’est-à-dire la période où il manifeste le plus d’intérêt pour le cinéma. L’étude comprend trois analyses. La première concerne le point de vue de Maurice Maeterlinck, son entrée et son déplacement dans le champ cinématographique. L’auteur consacré dans son champ d’origine développe, dans le nouveau champ investi, des produits dérivés orientés vers le public élargi et diversifié. La deuxième analyse concerne les transformations du champ cinématographique et le point de vue des autres agents, en particulier celui des maisons de production et de distribution. Celles-ci insèrent les adaptations de l’auteur dans une série de produits plus ou moins standardisés, qui leur permettent de se situer dans le champ. La troisième analyse concerne quelques films et projets de films datant des années 1910 et 1920, liés aux œuvres littéraires de Maurice Maeterlinck, comme The Blue Bird (Maurice Tourneur, 1918). Aussi bien les composantes externes (par exemple, la mise en place du projet, la production ou l’exploitation) que les composantes internes (par exemple, la mise en scène ou l’éclairage) sont les indicateurs de la position de l’auteur et les indicateurs du fonctionnement du champ dans son ensemble. / The researches on the literary works of Maurice Maeterlinck are numerous but his activity in the cinema is less known and less studied. The PhD thesis is based on the concepts of the sociology of Pierre Bourdieu ;its purpose is to bring new information by analyzing the trajectory of the author in the cinematic field during the 1910s and the 1920s, when he is the most interested in the cinema. The study includes three analyses. The first one concerns Maurice Maeterlinck's point of view, his entrance and his movement in the cinematic field. The author who is recognized in his first field develops in the new invested field several products who are directed to the widened and diversified public. The second analysis concerns the transformations of the cinematic field and the point of view of the other agents, e.g. the houses of production and distribution. These houses insert the adaptations of the author into a series of more or less standardized products, which allow them to be situated in the field. The third analysis concerns some films and projects of films of the 1910s and the 1920s, adapted from the literary works of Maurice Maeterlinck (e.g. The Blue Bird, Maurice Tourneur, 1918). The external components (the organization of the project, the production or the exploitation) and the internal components (the direction or the lighting) indicate how the author is situated and how the field is organized.
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
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M'hammed, Oubella Abdelkrim. "L'adaptation cinématographique des romans de Tahar Ben Jalloun: L'Enfant de sable, La Nuit sacrée et la Prière de l'absent." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210449.

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L’Adaptation cinématographique des romans de Tahar Ben Jelloun :“L’Enfant de sable”, “La Nuit sacrée“, “La prière de l’absent”

Trois volumes, pp. 429 + 220 (Annexes).

Cette thèse porte sur l’analyse des tenants et des aboutissants de deux longs-métrages de fiction inspirés par l’œuvre de l’écrivain Tahar Ben Jelloun, à savoir La Nuit sacrée (1993) du Français Nicolas Klotz et La Prière de l’absent (1994) du Marocain Hamid Bénani.

Compte tenu du fait que le 7e Art s’est intéressé depuis toujours à tous les genres littéraires, l’auteur s’est attaché à explorer la dynamique intrinsèque des romans et des films qui font l’objet de ce travail, tout en mettant en relief les rapports que le cinéma entretient avec les représentations socioculturelles issues de ce croisement. Plutôt que se s’enfermer dans une seule démarche méthodologique, le choix a été opéré de s’ouvrir à plusieurs types d’investigation, de façon à mieux prendre en considération les spécificités des œuvres abordées.

Le premier volume de la thèse s’ouvre sur un survol de l’histoire de la littérature maghrébine d’expression française, en général, et marocaine, en particulier, et retrace son évolution, de même que les obstacles qu’il lui a fallu surmonter pour tenter de s’imposer, et qu’elle doit du reste encore surmonter de nos jours.

Après quoi, il est procédé à la définition des différents paramètres des trois romans de Tahard Ben Jelloun, à travers les fonctions et fonctionnements des composantes paratextuelles que sont les titres, les incipits et les clausules des corpus en question. Il s’agit, à ce stade, de démontrer qu’il existe une forte motivation entre ces éléments – souvent considérés comme marginaux – et le texte proprement dit.

Le travail se penche ensuite sur l’étude de chaque roman séparément, selon une approche correspondant à la nature particulière qui s’en dégage.

Après un panorama historique de la cinématographie marocaine et une brève présentation du parcours respectif des cinéastes Nicolas Klotz et Hamid Bénani, le deuxième volume se concentre, pour sa part, sur l’approche des films annoncés dans le cadre de cette étude.

L’analyse du travail d’adaptation débute par la distinction qui s’impose entre la littérature et le cinéma, aussi bien du point de vue productif que réceptif, via la mise en lumière des caractéristiques propres à ces moyens d’expression artistique. S’il apparaît légitime de confronter le cinéma et la littérature, il faut éviter de s’enfermer dans un comparatisme valorisant l’un au détriment de l’autre, sans jamais perdre de vue tout ce qui différencie ces deux formes d’écriture et les publics auxquels elles s’adressent.

Le moteur principal du travail étant l’étude du processus d’adaptation cinématographique, l’auteur s’engage par ailleurs à mettre en perspective les expériences adaptatives retenues dans ces pages, afin de les saisir sous plusieurs angles et divers niveaux de sens imbriqués, mêlant fait culturel et activité artistique.

Toute adaptation n’étant jamais que l’une des nombreuses interprétations possibles du texte originel, l’essentiel est ici d’observer, au-delà des convergences et des divergences existant entre le film et le roman, quels sont les enjeux et les objectifs de La Nuit sacrée de Klotz et de La Prière de l’absent de Bénani. À cet effet, l’accent est mis sur le concept de transfert historico-culturel cher à Michel Serceau, où le contexte sociohistorique et les conditions de fabrication jouent un rôle déterminant pour l’appropriation de l’œuvre littéraire.

Ainsi, parallèlement à l’élucidation des techniques de fabrication des films, une grande importance est accordée aux contextes historique, culturel et artistique dans lesquels ils ont vu le jour, afin de mettre en lumière la singularité du regard que chacun des réalisateurs porte sur la production du romancier. La thèse montre par là comment ces adaptations, qui émanent d’approches et de transferts bien distincts, au niveau du contexte comme des codes culturels, ont donné lieu à deux films aux différences très marquées, tant sur le plan thématique que qualitatif.

Outre la bibliographie, la filmographie et un index des noms figurant à la fin du manuscrit principal, les annexes qui composent le troisième volume offrent un fac-simile des scénarios originaux de La Nuit sacrée et de La Prière de l’absent, suivi du découpage séquentiel des deux films et de la transcription d’entretiens inédits avec les réalisateurs Nicolas Klotz et Hamid Bénani, ainsi qu’une sélection d’articles de presse.


Doctorat en Information et communication
info:eu-repo/semantics/nonPublished

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Caddy, Scott. "(Mis)appropriating (con)text Jane Austen's Mansfield Park in contemporary literary criticism and film /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245361134.

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Li, Siu Leung, and 李小良. "Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.

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Muth, Miriam Anna. "Adapting late Arthurian romance collections : Malory and his European contemporaries." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610481.

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Gibb, Adrienne. "Poetics of distraction : Ozaki Midori's writings on film." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81492.

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The cinematic experience in Taisho Japan was a defining part of a spectrum of modernity's experiences associated with daily urban life. This paper argues that rather than theorizing film in rational terms common to "serious" film criticism focussing on aspects of production, Ozaki Midori envisioned the cinematic experience from the standpoint of an enthralled spectator, in terms of a sensual, bodily interaction with the cinematic image. Given the over-determined relationship of women to mass culture, one that is wrought with contradictions, Ozaki's writings on film open up the question of gender as it relates to spectatorship and the development of subjectivity within mass culture. Ozaki writes from a perspective within the cinematic experience in which the boundaries between spectator and image collapse. Ozaki offers a new mode of thinking and writing, a poetics of distraction to articulate and comprehend the modern experience.
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Hales, Barbara. "Dark mirror: Constructions of the femme fatale in Weimar film and Hollywood film noir." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187445.

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The femme fatale is a marker for the past is evident in the film noir work of German exile directors. These directors created a femme fatale character similar to Weimar examples of the sexual woman icon, using Weimar cultural constructions as a template for their work in Hollywood. The femme fatale figure in film noir is specifically an enigma or duplicitous mystery, a woman with a gun who threatens the male protagonist. She represents a piece of the male character's past often seen through the structure of the voice-over and flashback. These narrative devices enable the male protagonist to rework this jaded past vis-a-vis his relationship to the femme fatale and his fatal attraction to her. The film noir femme fatale is linked to German exile directors' desire to review a past that has been lost and cannot be recuperated. In the case of the Weimar femme fatale, she is a sign for the trauma of World War I and the ensuing political/social crises of the Weimar republic. The femme fatale in her castrating capacity is a marker for historical upheaval and male subjectivity in flux. She is ultimately the scapegoat for male questions of self and a split subjectivity brought on by historical events such as war and the experience of exile. Her various guises include the criminal woman, the technological entity, and the double.
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De, Bruin-Molé Megen. "Frankenfiction : monstrous adaptations and Gothic histories in twenty-first-century remix culture." Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/106947/.

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In the twenty-first century, the remix, the mashup, and the reboot have come to dominate Western popular culture. Consumed by popular audiences on an unprecedented scale, but often derided by critics and academics, these texts are the ‘monsters’ of our age—hybrid creations that lurk at the limits of responsible consumption and acceptable appropriation. Like monsters, they offer audiences the thrill of transgression in a safe and familiar format, mainstreaming the self-reflexive irony and cultural iconoclasm of postmodern art. Like other popular texts before them, remixes, mashups, and reboots are often read by critics as a sign of the artistic and moral degeneration of contemporary culture. This is especially true within the institutions such remixes seem to attack most directly: the heritage industry, high art, adaptation studies, and copyright law. With this context in mind, in this thesis I explore the boundaries and connections between remix culture and its ‘others’ (adaptation, parody, the Gothic, Romanticism, postmodernism), asking how strong or tenuous they are in practice. I do so by examining remix culture’s most ‘monstrous’ texts: Frankenfictions, or commercial narratives that insert fantastical monsters (zombies, vampires, werewolves, etc.) into classic literature and popular historical contexts. Frankenfiction is monstrous not only because of the fantastical monsters it contains, but because of its place at the margins of both remix and more established modes of appropriation. Too engaged with tradition for some, and not traditional enough for others, Frankenfiction is a bestselling genre that nevertheless remains peripheral to academic discussion. This thesis aims to address that gap in scholarship, analysing Frankenfiction’s engagement with monstrosity (chapter one), parody (chapter two), popular historiography (chapter three), and models of authorial originality (chapter four). Throughout this analysis, Mary Shelley’s 1818 novel Frankenstein remains a touchstone, serving as an ideal metaphor for the nature of contemporary remix culture.
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Books on the topic "Film adaptations – History and criticism"

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Teaching literary theory using film adaptations. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2009.

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Adaptation and the avant-garde: Alternative perspectives on adaptation theory and practice. New York: Continuum, 2011.

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Dracula in the dark: The Dracula film adaptations. Westport, Conn: Greenwood Press, 1997.

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Richard, Vela, and Tibbetts John C, eds. Shakespeare into film. New York, NY: Checkmark Books, 2002.

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Pellow, C. Kenneth. Films as critiquesof novels: Transformational criticism. Lewiston, N.Y: Edwin Mellen, 1994.

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H.C. Andersens eventyr på film. Odense: Syddansk universitetsforlag, 2009.

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Films as critiques of novels: Transformational criticism. Lewiston: E. Mellen Press, 1994.

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Adaptation and cultural appropriation: Literature, film, and the arts. Berlin: De Gruyter, 2012.

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Barnes, Alan. Sherlock Holmes on screen: The complete film and TV history. 2nd ed. London: Reynolds & Hearn, 2008.

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Alan, Barnes. Sherlock Holmes on screen: The complete film and TV history. 2nd ed. London: Reynolds & Hearn, 2008.

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Book chapters on the topic "Film adaptations – History and criticism"

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Wehrs, William. "Affect and Film Music: A Brief History." In The Palgrave Handbook of Affect Studies and Textual Criticism, 735–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63303-9_28.

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Sanna, Antonio. "A History of the Literary and Graphic Adaptations and Appropriations of Alice." In Alice in Wonderland in Film and Popular Culture, 19–33. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-02257-9_2.

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Bauer, Stephen F. "Cultural History and the Film Cabaret: A Study in Psychoanalytic Criticism." In The Psychoanalytic Study of Society, 171–97. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315791968-7.

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Wong, Wendy Siuyi. "A History of Hong Kong Comics in Film Adaptations: The Appearance of Self-Identities." In The Disappearance of Hong Kong in Comics, Advertising and Graphic Design, 67–97. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92096-2_4.

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Burry, Alexander. "Introduction: Filming Russian Classics—Challenges and Opportunities." In Border Crossing. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411424.003.0013.

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This chapter presents an overview of the history and process of transposing classic Russian literature into film, surveying the progress recent scholars of adaptation studies have made in overcoming fidelity criticism. Borrowing Gerard Genette’s concept of “hypertextuality,” it offers an approach to studying films of Russian literature based on cross-cultural communication, in which literary texts undergo semantic shifts as they enter different temporal, spatial, social, and historical contexts when they are transformed into film.
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Henrik Hartvigson, Niels. "Rural Dreams: Landscape, Family, Sexuality and Queerness in Homeland Cinema." In A History of Danish Cinema, 105–17. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474461122.003.0009.

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Like the German Heimatfilm, homeland film is also a popular and enduring tradition in Danish cinema. Often criticised as reactionary or regressive, homeland films flourished from the 1950s onwards, bringing images of the national landscape to cinema screens. Adaptations of popular novels by Morten Korch formed the backbone of the genre, and production was dominated by two women filmmakers: Alice O’Fredericks and Annelise Reenberg. The films tend to narrate identity-related struggles, set in a place of origin such as a farm or village, and they balance melodrama with comedy, lyricism, and the occasional supernatural element. Interconnections between cinematic landscape, human and animal are crucial, and kinship extends far beyond the nuclear family to encompass cultural outcasts, the unmarried, the childless, the old and orphans. Indeed, this chapter argues that homeland films often centre on a crisis of sexuality, and feature some form of queer couples or queer nurturing.
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Hollyfield, Jerod Ra'Del. "Introduction." In Framing Empire, 1–20. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429948.003.0001.

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This introduction discusses trends in late 20th and early 21st century cinema that have opened a space for international directors to extend the postcolonial critiques of their native national cinemas to an international scale. Increasingly, filmmakers from postcolonial nations have opted to undertake film adaptations of British literature, frequently choosing the Victorian literature of Britain’s imperial century as their source texts as a way to integrate the perspectives of their homelands into works that stereotype or ignore the presence of the colonized. Through tracing the evolution of adaptation theory over the past decade, this overview highlights the need for a hybrid adaptation model that takes into account the increasingly globalized nature of Hollywood and postcolonial adaptation. Introducing the interfidelity approach to adaptation, I examine how it attempts to bridge the field’s rich history of criticism with a politically relevant analysis informed by postcolonial theory. Applying this approach to Peter Jackson’s 2005 remake of King Kong, I consider the film as a rewriting of Joseph Conrad’s Heart of Darkness and the 1933 original King Kong that negotiates a Kiwi settler colonial identity built on Victorian colonialism and contending with Hollywood’s global scope.
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David Evan, Richard. "(Re-)Mediating Memory’s Materiality." In Film Phenomenology and Adaptation. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722100_ch05.

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Adaptation criticism may begin as an act of memory, but while adaptation is a medium for memory it is also a medium of memory. This chapter considers adaptation as a form of memory work, paralleling adaptation’s textual layering with memory’s layering of experience. Adaptations can offer us experiential knowledge of the past—either fictional texts or a historical ‘truth’—or be antagonistic or self-reflexive about its formal remembrance. This chapter examines phenomenological approaches to the ‘tissue’ of memory and puts them in contact with two adaptations (one prestige, one arthouse), both concerned with the experience of marginalized bodies. In doing so, this chapter not only asks ‘what texts are remembered?’, or ‘who is remembered?’, but also questions ‘how are stories, identities, and lives remembered?’. In doing so, this chapter points to how an embodied approach to adaptation not only involves aesthetic appreciation but also ethical understanding.
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9

Zambenedetti, Alberto. "The Period Film: Venice and Literary Adaptations." In World Film Locations: Venice, 86–103. Intellect, 2013. http://dx.doi.org/10.1386/9781841508023_7.

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It is well known that Venice’s unique architecture, history, government and people have inspired generations of writers. From Shakespeare to Casanova, Henry James to Veronica Franco, numerous novels, poems and plays have used the floating city as a backdrop for tales of scandalous affairs, decadent formal balls, and murderous revenge plots.
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10

Schütte, Uwe. "The Cult of Sebald." In W.G. Sebald, 106–15. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9780746312988.003.0007.

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This chapter challenges common misconceptions about Sebald, including the assumption that he wrote in English and that Austerlitz was the final work published in his lifetime. It goes on to discuss his misplaced label as a ‘Holocaust author’ and touches on the disappointing film adaptation of The Rings of Saturn. It also addresses controversies surrounding Sebald’s writing: how he deliberately situated himself as an academic outsider, was criticised by those who disliked his confrontation of German history, and his general animosity towards established champions of post-war literature.
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