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

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Bell, Melanie. "Film Criticism as ‘Women's Work’: the Gendered Economy of Film Criticism in Britain, 1945–65." Historical Journal of Film, Radio and Television 31, no. 2 (June 2011): 191–209. http://dx.doi.org/10.1080/01439685.2011.572605.

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12

Kolker, Robert Phillip, Bernard F. Dick, and Robert B. Ray. "On Certain Tendencies in American Film Criticism." American Quarterly 38, no. 2 (1986): 327. http://dx.doi.org/10.2307/2712860.

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13

O’Regan, Tom, and Huw Walmsley-Evans. "The Emergence of Australian Film Criticism." Historical Journal of Film, Radio and Television 38, no. 2 (June 2, 2017): 296–321. http://dx.doi.org/10.1080/01439685.2017.1300409.

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14

O’Leary, Alan, and Dana Renga. "Teaching Italian Film and Television and Videographic Criticism." Italianist 40, no. 2 (May 3, 2020): 296–309. http://dx.doi.org/10.1080/02614340.2020.1790276.

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15

Severn, John R. "Salieri’s Falstaff, ossia Le tre burle and The Merry Wives of Windsor: Operatic Adaptation and/as Shakespeare Criticism." Cambridge Opera Journal 26, no. 1 (February 19, 2014): 83–112. http://dx.doi.org/10.1017/s0954586713000323.

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AbstractShakespeare’s The Merry Wives of Windsor contains several features that make it unusual within his dramatic output and that thus render problematic the idea of a unified ‘Shakespearean’ canon. Until very recently, literary criticism has either largely ignored or denigrated the play, with a sustained interest in its portrayal of female agency, family life and the natural world only consolidating in the early twenty-first century. However, earlier operatic adaptations, such as Salieri and Defranceschi’s Falstaff, ossia Le tre burle, demonstrate an engagement with those issues which literary criticism has only lately addressed. While approaches to adaptations of The Merry Wives often focus primarily on the character of Falstaff, Salieri and Defranceschi’s opera’s engagement with the play’s issues beyond Falstaff suggests it might give added weight to a growing awareness of a positive alternative reception history of the play beyond literary criticism. At the same time, a consideration of the opera’s engagement with the play’s themes of female agency, family life and the natural world might shed light on Falstaff, ossia Le tre burle beyond the shadow cast by Verdi’s central character.

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16

Ifri, Pascal A. "One novel, five adaptations: proust on film." Contemporary French and Francophone Studies 9, no. 1 (January 2005): 15–29. http://dx.doi.org/10.1080/1026021042000325435.

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17

MacDonald, Richard Lowell. "Elevating the Film Review: Critics and Critical Practice at the Monthly Film Bulletin." Film Studies 14, no. 1 (2016): 93–111. http://dx.doi.org/10.7227/fs.14.0006.

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This article focuses on the Monthly Film Bulletin, a magazine devoted to what is often regarded as the lowliest and most ephemeral form of film criticism: the film review. Studying the Bulletins publication history, with a particular emphasis on the 1970s, the article challenges the dismissal of journalistically motivated film criticism in academic discourse. It argues that the historical interest of the Bulletins late period lies in its hybrid identity, a journal of record in which both accurate information and personal evaluation coexisted as values, and in which a polyphony of individual critical voices creatively worked through a routinised reviewing practice and a generic discursive format.

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18

Montier, Jean-Pierre. "Jan Baetens, The Film Photonovel. A Cultural History of Forgotten Adaptations." Questions de communication, no. 36 (December 31, 2019): 377–78. http://dx.doi.org/10.4000/questionsdecommunication.21932.

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19

Hadaegh, Bahee, and Venus Torabi. "Borges’s “The Intruder” Remediated: Adaptation to Silver/Cyber Screens." Khazar Journal of Humanities and Social Sciences 21, no. 3 (November 2018): 136–53. http://dx.doi.org/10.5782/2223-2621.2018.21.3.136.

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The present article is a critical scene for studying Ghazal 1975, an Iranian film by Masud Kimiai and Natalie Bookchin’s videogame, The Intruder 1999, both adapted from Borges’s short story, “The Intruder”. Exploiting Linda Hutcheon’s A Theory of Adaptation (three modes of engagement in a story), the concentration is on showing how Borges’s story, as a telling mode (print), is remediated into showing (film) and interactive (video game). Ghazal exercises both fidelity criticism and appropriation regarding contextualization and adaptability, whereas The Intruder is a game of narration and interaction simultaneously, where the significance lies at studying the game’s “narrative mode” as a show case of Cyber Literature. The effort is aimed at scrutinizing how literary adaptations as forms of remediation a

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20

Frymus, Agata. "Researching Black women and film history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 228–36. http://dx.doi.org/10.33178/alpha.20.18.

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My project (Horizon 2020, 2018–20) traces Black female moviegoing in Harlem during the silent film era. The main challenge in uncovering the women’s stories is that historical paradigm has always prioritised the voices of the white, middle-class elite. In the field of Black film history, criticism expressed by male journalists—such as Lester A. Walton of New York Age—has understandably received the most attention (Everett; Field, Uplift). Black, working-class women are notoriously missing from the archive. How do we navigate historical records, with their own limits and absences? This paper argues for a broader engagement with historic artefacts—memoirs, correspondence and recollections—as necessary to re-centre film historiography towards the marginalised. It points to the ways in which we can learn from the scholars and methods of African American history to “fill in the gaps” in the study of historical spectatorship.

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21

Andrianova, Anastassiya. "Ecofeminism in Film Adaptations of Lesia Ukrainka’s Forest Song." Kyiv-Mohyla Humanities Journal, no. 8 (December 24, 2021): 46–67. http://dx.doi.org/10.18523/kmhj249180.2021-8.46-67.

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This article off ers a pioneering ecofeminist study of Viktor Ivchenko’s Lisova pisnia (1961) and Yurii Illienko’s Lisova pisnia. Mavka (1980), two Soviet Ukrainian film adaptations of Lesia Ukrainka’s eponymous fairy-drama (1911; Forest Song). It focuses on the interrelated depiction of gender and nature along with the drama’s ideological and material aspects: androcentrism and deforestation. The production of both fi lms coincides with, and arguably refl ects, what Marko Pavlyshyn describes as “the emergence of a conservationist consciousness” in the USSR in the 1960s. The article’s goal is therefore twofold – to bring new ecofeminist insights into Ukrainian fi lm studies and to raise eco-awareness about the Volyn Polissia, which provides the setting for Ukrainka’s drama and its adaptations, and currently faces environmental devastation from illegal amber mining.

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22

Zorin, Artem N., Daniil L. Riasov, and Wijdan A. Mohammed. "Eternal Revision: Screen Adaptations of Gogol’s Texts in the 21st Century." Art and Science of Television 17, no. 4 (2021): 65–108. http://dx.doi.org/10.30628/1994-9529-2021-17.4-65-108.

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Post-Soviet era directors have been searching for the new aesthetic footholds in the images of Gogol’s works. Starting from pure satire denouncing the pre-revolutionary system, they have moved on to the absurdist grotesque. This was significantly influenced by the discoveries of Gogol scholars in the 1990s–2000s and the actualization of the interpretations of Gogol’s works created at the turn of the 19th–20th centuries, which were inconceivable for Soviet literary criticism Screen adaptations have been affected both directly—by theatrical productions of Gogol’s oeuvre, and indirectly—by a long tradition of stage appeals and directors’ decisions on his stories. The transfer of Gogol’s dramaturgy into the 21st century gave film directors and screenwriters the opportunity to maximize the relevance and social sensitivity of the plots. In the 21st century, the theme of an inspection as an image of the Last Judgment has been transformed into a semblance of a police detective. Most of the characters are related to the police or special services, to investigations, to real retribution. While for Gogol the idea of judgement lies in the moral plane, in post-Soviet interpretations it is usually associated with earthly requital, and an extremely explicit one, tailored to a crime TV series audience. Against such a background, Grigory Konstantinopolsky’s film adaptation of Dead Souls summarizes a decade of Gogol film interpretations. The story of Chichikov blatantly accumulates and travesties the previous tradition of presenting Gogol’s detective plots. The film actualizes the issue of a positive hero, the problem of memory transformation, and cinema’s responsibility to the society in the period of losing its literature-centeredness. The transformation of the spiritual and intimate life of Gogol’s contemporaries, which was the most important theme for the writer, was also updated in a number of motifs: the lack of foundations for understanding between loving people (Marriage, 2009), the displacement of traditional gender roles (Happy Ending, 2010), the privatization of national memory, and summing up the unformed aesthetics of the new Russian cinema by the “lost generation” of the ‘90s (Dead Souls, 2020).

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23

Cripps, Thomas, and Anna Everett. "Returning the Gaze: A Genealogy of Black Film Criticism, 1909-1949." Journal of American History 89, no. 1 (June 2002): 257. http://dx.doi.org/10.2307/2700868.

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24

Trudel, Éric. "The Film Photonovel: A Cultural History of Forgotten Adaptations by Jan Baetens." French Review 93, no. 4 (2020): 200–201. http://dx.doi.org/10.1353/tfr.2020.0118.

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25

Osburn, Carroll. "Methodology in Identifying Patristic Citations in NT Textual Criticism." Novum Testamentum 47, no. 4 (2005): 313–43. http://dx.doi.org/10.1163/156853605774482135.

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AbstractAfter advancing a preliminary list of criteria for identifying patristic biblical citations, Fee called for adequate guidelines for assessing their text critical usability. Drawing illustrations primarily from fresh assessments of references in Hippolytus, Methodius, Origen, and Epiphanius for Novum Testamentum Graecum, Osburn advances the discussion regarding citations, adaptations, allusions, reminiscences, and locutions. Simple verbal precision is inadequate to establish a reference as reflective of an exemplar. A quotation must be read in its patristic context in order to determine how the text is actually used and in what way it probably reflects a text known to the Father.

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26

Tsvetkova, Marina V. "Is Film Adaptation Also a Translation? With Reference to Two Screen Versions of Shakespeare’s Hamlet." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 57–68. http://dx.doi.org/10.15826/izv2.2022.24.2.024.

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This article examines film adaptation of a literary work, which is regarded as an “intersemiotic translation” (R. O. Jakobson’s term). Research in the field of film adaptations has experienced a real boom abroad for at least the last two decades. In recent years, one can notice an increase in interest in this topic in Russia as well. This is evidenced by even a cursory acquaintance with newly written articles, monographs, and dissertations, whose authors approach the problem of film adaptation from the standpoint of a wide range of research fields: film studies, linguistics, philosophy, sociology, literary criticism, etc. At the same time, the question of whether an adaptation of a literary text can be regarded as a translation is still debatable. Employing this point of view, this article proposes to consider two adaptations of Shakespeare’s tragedy Hamlet: by T. Richardson (1969) and by F. Zeffirelli (1990), where the directors abandoned the traditional interpretation of the play in the theatre and the cinema but did not choose to transfer the action to a different epoch. A comparative analysis of the performance of Hamlet’s monologue as a key moment of the protagonist’s internal conflict demonstrates that even though both directors keep the text of the monologue unchanged, its interpretation undergoes serious transformations. Due to its multimodality and in addition to the word, cinematography uses sound and visual images. These extra artistic means which cinematography has at its disposal offer a recoding of meanings akin to transcoding a text by means of another language, characteristic of translation in its classical sense.

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27

Powrie, Phil. "Algeria and Women in Two 1960s Film Adaptations of the Carmen Narrative." French Cultural Studies 22, no. 2 (April 19, 2011): 127–36. http://dx.doi.org/10.1177/0957155810396281.

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28

Eberle-Sinatra, Michael. "Readings of Homosexuality in Mary Shelley's Frankenstein and Four Film Adaptations." Gothic Studies 7, no. 2 (November 2005): 185–202. http://dx.doi.org/10.7227/gs.7.2.7.

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29

Li, Ziyi. "The Inspiration of Gombrich’s Critical Discourse Innovation to Film Criticism——Take “The Great Road” as an Example." Learning & Education 10, no. 8 (June 20, 2022): 94. http://dx.doi.org/10.18282/l-e.v10i8.3071.

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As a critic of the classic visual art of images, Gombrich has pioneering insights into some aspects of the discourse of image criticism. This is not only used in his art history and art direction, but also in films that are also visual culture. direction. This article utilizes Gombrich’s innovation of critical discourse, combined with some cognitive models and related concepts proposed by Gombrich to inspire traditional film criticism. Combining neo-realism films with the inner characteristics of characters in the external material world, taking Italian director Fellini’s “The Great Road” as an example, this paper attempts to clarify the impact of this critical discourse innovation on film criticism.

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30

Jackson, Jeffrey E. "Apples to Apples: A Book-History Approach to Film Adaptations in the Classroom." CEA Critic 77, no. 3 (2015): 295–99. http://dx.doi.org/10.1353/cea.2015.0029.

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31

Connolly, Matt. "The permanent crisis of film criticism: the anxiety of authority." Historical Journal of Film, Radio and Television 36, no. 2 (March 31, 2016): 255–57. http://dx.doi.org/10.1080/01439685.2016.1164474.

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32

Massai, Sonia. "Stage over Study: Charles Marowitz, Edward Bond, and Recent Materialist Approaches to Shakespeare." New Theatre Quarterly 15, no. 3 (August 1999): 247–55. http://dx.doi.org/10.1017/s0266464x0001304x.

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The flurry of Shakespearean adaptations in the 1960s and 1970s represents a significant yet largely neglected chapter of recent cultural history. This article assesses two of the more enduring adaptations – Edward Bond's Lear (Royal Court Theatre, 1971) and Charles Marowitz's Measure for Measure (Open Space Theatre, 1975) – in order to show how these controversial texts anticipated later mainstream critical approaches which still affect our reception of Shakespeare in the late 1990s. Several parallels between Marowitz and Bond's adaptations and recent materialist readings of their Shakespearean sources suggest that the adaptors anticipated the critics, and that both sought meaning from their Shakespearean originals by focusing on certain aspects of the text and by disregarding others. By demonstrating that whilst Marowitz and Bond's adaptations should best be regarded as a form of stage-centred criticism, Sonia Massai suggests that literary critical approaches inevitably reflect an arbitrary and historically determined appropriation of the Shakespearean original. Sonia Massai is a Lecturer in English Studies at St. Mary's, Strawberry Hill, a College of the University of Surrey. She has published articles on Shakespearean adaptations in Studies in English Literature, Analytical and Enumerative Bibliography, and in a special issue of Textus: English Studies in Italy. She is currently collaborating with Jacques Berthoud on the New Penguin edition of Shakespeare's Titus Andronicus.

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Fişek, Emine. "Rethinking Intouchables: Race and performance in contemporary France." French Cultural Studies 29, no. 2 (May 2018): 190–205. http://dx.doi.org/10.1177/0957155818755607.

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The 2011 French blockbuster film Intouchables is based on a true story and depicts the friendship between Parisian Philippe, a white millionaire who is quadriplegic, and his carer Driss, a black man from the city’s banlieues. Whereas the film’s American reception focused on race and criticised the stereotypes imposed on the performing black body, French critics focused on class, and discussed the film’s easy depiction of economic domination. This article approaches this critical disparity through the lens of performance, and argues that the film’s contrasting receptions demonstrate the distinct legacies of American slavery and French colonialism in understanding contemporary iconographies of black performance. A further focus on the film’s source material, as well as the filmmakers’ adaptation of an Algerian character into a Senegalese one, reveals the continued role that the legacy of French colonialism plays in aesthetic representations of race and gender in contemporary France.

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34

Ramos Arenas, Fernando. "Film criticism as a political weapon: theory, ideology and film activism inNuestro Cinema(1932–1935)." Historical Journal of Film, Radio and Television 36, no. 2 (April 2, 2016): 214–31. http://dx.doi.org/10.1080/01439685.2016.1167466.

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35

Földváry, Kinga. "Trendy or topical? Sexual politics and panopticism in the 2016 BBC Midsummer Night’s Dream." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (April 11, 2019): 137–46. http://dx.doi.org/10.1177/0184767819835553.

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The 2016 BBC television production of A Midsummer Night’s Dream (directed by David Kerr) illustrates that the provocative representation of gender issues, commented on by most reviewers, effectively overshadowed the film’s real topicality: its depiction of a tightly controlling post-panoptic regime, relying on technological surveillance systems, in which observed and observer are equally implicated. However, the film’s spectacular visuality and the liberal gender politics of the adaptation, which are all but compulsory in contemporary theatrical adaptations, have allowed viewers to focus on the carnivalesque comedy of the finale, rather than the darker undertones of its social criticism.

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36

Dmitrieva, Anastasia Romanovna. "Film journalism and film criticism of the USSR during the years of Perestroika on the example of the magazine «Cinema Art»." Век информации (сетевое издание) 4, no. 13 (September 30, 2020): 9–23. http://dx.doi.org/10.33941/age-info.com44(13)2.

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Perestroika is considered one of the most interesting periods in Russian history in terms of cultural reforms. The article analyzes the content of the issues of the magazine «Cinema Art» published in the period from 1985 to 1991 in order to identify the characteristic features of film journalism and film criticism of the USSR during the period of Perestroika.

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37

GAINTY, CAITJAN. "‘Items for criticism (not in sequence)’: Joseph DeLee, Pare Lorentz and The Fight for Life (1940)." British Journal for the History of Science 50, no. 3 (September 2017): 429–49. http://dx.doi.org/10.1017/s0007087417000620.

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AbstractIn the late 1920s, the American obstetrician Joseph DeLee brought the motion-picture camera into the birth room. Following that era's trend of adapting industrial efficiency practices for medical environments, DeLee's films give spectacular and unexpected expression to the engineering concept of ‘streamlining’. Accomplishing what more tangible obstetric streamlining practices had failed to, DeLee's cameras, and his post-production manipulation, shifted birth from messy and dangerous to rationalized, efficient, death-defying. This was film as an active and effective medical tool. Years later, the documentarian Pare Lorentz produced and wrote his own birth film, The Fight for Life (1940). The documentary subject of the film was DeLee himself, and the film was set in his hospitals, on the same maternity ‘sets’ that had once showcased film's remarkable streamlining capacity to give and keep life. Yet relatively little of DeLee was retained in the film's content, resulting in a showdown that, by way of contrast, further articulated DeLee's understanding of film's medical powers and, in so doing, hinted at a more dynamic moment in the history of medicine while speaking also to the process by which that understanding ceased to be historically legible.

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38

O'Leary, Alan, and Catherine O'Rawe. "Against realism: on a ‘certain tendency’ in Italian film criticism." Journal of Modern Italian Studies 16, no. 1 (January 2011): 107–28. http://dx.doi.org/10.1080/1354571x.2011.530767.

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39

Sorlin, Pierre. "Cinéma et religion dans l'Europe du XXe siècle." Journal of Modern European History 3, no. 2 (September 2005): 183–204. http://dx.doi.org/10.17104/1611-8944_2005_2_183.

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Film and Religion in 20th Century Europa The article focuses on the conflict zones and compromises of the ambivalent relationship which developed between film and religion in Europe. European film production was more reluctant than Hollywood to treat Biblical themes; on the other hand, the Christian Churches oscillated between damning, controlling and producing their own films. Their censorship and criticism were frequently the occasion of stormy internal debates about Church strategy toward the decline of traditional religiosity. Subjects such as the position and role of the pastor in his congregation and the lives of the saints were made into films; specific religious themes, however, remained rare. For the historian, these films offer symptomatic indicators of sensitivities, complex problems and uncertainties concerning religious life at the time.

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М.В., Белов,. "Film Battle for Traumatic Memory: “Dara from Yasenovac” (2020) under the Fire of Criticism." Диалог со временем, no. 81(81) (December 24, 2022): 226–41. http://dx.doi.org/10.21267/aquilo.2022.81.81.016.

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Сербский фильм «Дара из Ясеноваца» (2020), посвященный теме выживания детей в фашистском концлагере, вызвал бурную полемику на разных уровнях задолго до того, как стал доступен широкой аудитории зрителей. Противники фильма, упрощая ситуацию, посчитали его исключительным продуктом государственной пропаганды. Вместе с тем предпоказная конфронтация вокруг ожидаемой киноработы послужила хорошей рекламной кампанией, вопреки желанию, поддержанной суровыми критиками фильма. Это идеальный пример того, как тесно в информационную эпоху сбли-жаются, переплетаясь между собой и притворяясь друг другом, политика и эстетика. история (как стремление к истине) и кинобизнес, образование и «диванный» патриотизм. Точно так же смешались до неузнаваемости вроде бы полярные векторы – стремление к международному признанию и национальной обособленности. The Serbian film «Dara from Jasenovac» (2020), dedicated to the topic of child survival in a Nazi concentration camp, caused a heated discussion long before it became available to a broad audience. The opponents of the movie considered it to be an exceptional product of state-sponsored propaganda. At the same time, the pre-release confrontation turned out to be a good advertising campaign supported by the harsh critics against their wishes. This is a perfect example of how politics and aesthetics closely converge, intertwine and pretend to be each other in the information age: history (as the pursuit of truth) and the film industry, education and “passive” patriotism. Similarly, the desire for international recognition and national separateness, which are seemingly polar vectors, also mix beyond recognition.

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De Herder, William. "So Bad It’s Good: Articulations of Power in Ironic Film Criticism." Journal of Popular Culture 54, no. 2 (April 2021): 432–52. http://dx.doi.org/10.1111/jpcu.13009.

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Strong, Jeremy. "Straight to the Source? Where Adaptations, Artworks, Historical Films, and Novels Connect." Adaptation 12, no. 2 (July 22, 2019): 165–84. http://dx.doi.org/10.1093/adaptation/apz020.

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AbstractResponding to several recent interventions in adaptation studies that have argued for history-as-adaptation, this article develops a sustained examination of how page-to-screen adaptations may be understood as structured and interpreted in ways analogous to the historical film. Considering the relationship between historical screen texts and the historical novel, including the many novel-to-film adaptations of such stories, the article identifies a distinct subset of adaptations in which artworks and literary works are engaged as the ‘source’ for fictional and semi-fictional narratives that ostensibly address the circumstances of their creation. Re-purposing the term ‘origin story’ to characterize these stories, the works of historical novelist Tracy Chevalier are posited as examples of this creative adaptive practice. In addition, this article argues for the trope of ‘bringing-to-life’ and the associated domain of re-enactment as key modes, deeply resonant since the earliest phases of cinema technology, for figuring both the page-to-screen adaptation and historical film. Finally, the 2015 historical biopic and adaptation Trumbo and its relationship to a range of sources are examined in the light of ideas proposed in this article.

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Byung-Chul Na. "Korean Literature and Politics Responding to Transnational History －Criticism of the Criticism of Literature and Film in Cold War South Korea－." 사이間SAI ll, no. 18 (May 2015): 189–220. http://dx.doi.org/10.30760/inakos.2015..18.006.

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Tierney, Dolores. "José Mojica Marins and the cultural politics of marginality in third world film criticism." Journal of Latin American Cultural Studies 13, no. 1 (March 2004): 63–78. http://dx.doi.org/10.1080/1356932042000186497.

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Sun, Jinyan, and Dawei Han. "Whose Wuxia and What Kind of Myth: A Wuxia Accompanying Text Perspective." Signs and Media 1, no. 2 (September 22, 2021): 157–85. http://dx.doi.org/10.1163/25900323-12340009.

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Abstract Texts are the result of engravings in different social contexts, and they are culturally activated in different ways. The image of wuxia is formed by various accompanying texts sharing and participating in constructing a collection of wuxia narratives. By means of text-naming methods, authors, serialization of novels, film and television adaptations, criticism, and so forth, the image of wuxia operates in a continuous cycle that flows throughout texts that are gradually accumulated in the literary corpus. On this basis, it condenses and expresses a series of ideological discourses centred on topics such as gender and nation. These accompanying texts have diverse identities and play multiple roles in the cause of wuxia coming to be viewed as public heroes. They not only supply us with frameworks and positioning of wuxia novels but also provide cultural observations of society so as to participate in the construction of wuxia myths.

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Wan Teh, Wan Hasmah. "The History of Film Adaptation in Malaysia: The Long Journey of Its Rise and Fall." Malay Literature 31, no. 2 (December 1, 2018): 361–82. http://dx.doi.org/10.37052/ml.31(2)no7.

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Morris Beja in his book Film and Literature: An Introduction , said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM). Keywords: film adaptation, history, Cathay Keris, Malay Film, Merdeka Studio Abstrak Morris Beja dalam bukunya Film and Literature: An Introduction , mengatakan bahawa sejak Anugerah Akademi diperkenalkan pada tahun 1927 – 1928, lebih kurang tiga per empat anugerah untuk filem terbaik telah dimenangi oleh filem adaptasi. Keadaan ini merupakan bukti bahawa filem adaptasi adalah satu bentuk seni yang telah lama mendapat perhatian masyarakat dunia dan menjadi corak naratif yang terkenal pada abad ke-19 dan ke-20 di Eropah. Makalah ini mengambil inisiatif untuk menelusuri sejarah filem adaptasi secara umum dengan memberi tumpuan kepada filem adaptasi di Malaysia. Dapatan kajian mendapati sejarah filem adaptasi di Malaysia melalui liku-liku perjalanan yang panjang bermula pada tahun 1933 sewaktu zaman perusahaan Cathay Film dan Malay Film di Singapura hingga ke Merdeka Studio di Kuala Lumpur sekitar tahun 1970- an dan seterusnya. Industri filem di Malaysia berdepan dengan pelbagai masalah termasuk lambakan filem import dari Indonesia dan faktor komersialisme yang tidak menjamin keuntungan. Walau bagaimanapun sekitar tahun 2006 usaha mengadaptasi karya sastera ke filem terus diperkasakan melalui bengkel dan pertandingan anjuran badan kerajaan di Malaysia seperti Dewan Bahasa dan Pustaka (DBP), Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) dan Radio dan Televisyen Malaysia (RTM). Kata kunci: filem adaptasi, sejarah, Cathay Keris, Malay Film, Merdeka Studio

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Gaycken, Oliver. "‘Beauty of Chance’: Film ist." Journal of Visual Culture 11, no. 3 (December 2012): 307–27. http://dx.doi.org/10.1177/1470412912455618.

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A lesser-known aspect of André Bazin’s film criticism is his love of science films. Bazin’s key reflection in this regard, ‘Le film scientifique: beauté du hasard’, argues that the science film is not just another kind of filmmaking; rather, placed under the scrutiny of Bazin’s cinephilic, Surrealist gaze, the science film is revealed as the repository of true cinematic beauty. A similar approach to the science film is evident in contemporary avant-garde practice. Gustav Deutsch’s Film ist. 1–6 (1998), the first part of an ongoing compilation project, reveals an affinity with Bazin’s appreciation of the science film. Taken together, these approaches suggest an alternative strand of documentary history that is located at the intersection of scientific and avant-garde filmmaking practices.

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Raw, Laurence. "Transatlantic Perspectives from Fidelity to History: film adaptations as cultural events in the twentieth century." Historical Journal of Film, Radio and Television 34, no. 4 (August 8, 2014): 633–35. http://dx.doi.org/10.1080/01439685.2014.943960.

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Allen, Jeanne. "Palaces of Consumption as Women's Club: En-countering Women's Labor History and Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 8, no. 1 (January 1, 1990): 150–58. http://dx.doi.org/10.1215/02705346-8-1_22-150.

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Ibagere, Elo, and Osakue Stevenson Omoera. "The Nigerian Film Plot." Matatu 48, no. 2 (2016): 435–49. http://dx.doi.org/10.1163/18757421-04802012.

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The Nigerian film industry, otherwise known as Nollywood, has been acknowledged to be the second-largest in the world in terms of volume of production. This fact presents an interesting vista worthy of investigation, especially with regard to the quality of the films produced. It is in respect of this premise that this article examines the plot of the Nigerian film—a feature capable of affecting the popularity of the film. The essay, having dwelt on what plot is, critically examines the Nigerian film plot and finds that Nollywood films mostly adopt an episodic structure, thereby making them unnecessarily long. Besides (and this is systemically related to episodic structure and to a natural tendency in Nigerian rhetoric), many of the films tend to be too wordy, too chatty, over-padded, thus often earning them scathing criticism. The challenges of scriptwriting in this regard are examined, culminating in recommendations for how to improve the quality of scripts through plot construction in this vibrant film culture.

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