Screening the Novel: The Theory and Practice of Literary DramatizationMacmillan, 1990 - Всего страниц: 174 The book takes as its theme the relationship between literature and the contemporary means of production and distribution collectively termed 'the media' - in particular, film and television. The intention of the book is to explore and evaluate the mutual opportunities and restrictions in this relationship. In the grammar of our culture there seems to be an accepted opinion that print is superior in terms of cultural production to film, radio or television, that to read a book is somehow a 'higher' cultural activity than seeing a play on television or seeing a film. By the same token, a novel is a 'superior' work of art to film or television. The longer perspective reveals that traditionally there always is a greater respect paid to the previous mode of literary production - poetry was superior to drama, poetic drama was superior to the novel, and film attained cult and classic status initially over television. |
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Стр. 55
... Estella , whom she has brought up as a cold , heartless child to wreak her revenge on men . Pip falls in love with Estella , but she immediately rebuffs him and as a result he begins to despise his lowly origins . When Pip is fourteen ...
... Estella , whom she has brought up as a cold , heartless child to wreak her revenge on men . Pip falls in love with Estella , but she immediately rebuffs him and as a result he begins to despise his lowly origins . When Pip is fourteen ...
Стр. 65
... Estella . We were seated by the fire , as just now described , and Miss Havisham still had Estella's arm drawn through her own , and still clutched Estella's hand in hers , when Estella gradually began to detach herself . She had shown ...
... Estella . We were seated by the fire , as just now described , and Miss Havisham still had Estella's arm drawn through her own , and still clutched Estella's hand in hers , when Estella gradually began to detach herself . She had shown ...
Стр. 66
... Estella's contact with a ' fierce affection ' , her eyes ' flash ' , she ' passionately ' strikes her stick upon the floor . The contradiction is that Estella cannot feel the passion which is destroying Miss Havisham , because Miss ...
... Estella's contact with a ' fierce affection ' , her eyes ' flash ' , she ' passionately ' strikes her stick upon the floor . The contradiction is that Estella cannot feel the passion which is destroying Miss Havisham , because Miss ...
Содержание
ix | 26 |
The Classic Serial Tradition | 45 |
Great Expectations | 54 |
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Screening The Novel: The Theory And Practice Of Literary Dramatization Keith Selby,Robert Giddings,Chris Wensley Ограниченный просмотр - 2016 |
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achieve actually adaptation Amelia audience BBC TV BBC-1 Classic Serial Becky Sharp Beja Biddy broadcast camera characters Chris Wensley cinema classic novels Classic Serial Clive Bloom costume designer cultural David Lean's Diarmuid Lawrence Dickens Dickens's novels Dickensian director Dobbin dramatization editing episodes Estella Eve Matheson example Expectations fact FAIR VANITY FAIR fiction Film and Literature film and television film version film-makers George Bluestone going historical Jaggers Jane Austen Jonathan Miller literary Little Dorrit locations London look Magwitch Michael mind Miss Havisham narrative narrator never Novel into Film Oliver Twist original Orlick passage past Pip's play present problems production team programme prose reader Rebecca relationship role Satis House scene screen script editor Sedley sense slot story studio style tell Terrance Dicks Thackeray Thackeray's things Vanity Fair VANITY FAIR VANITY viewers visual write