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. 125
... going . We needed him to keep going ! The next stage is when the director joins , although we actually had two directors on Vanity Fair , because it was so big . The director is cast by the producer and so he is the other key casting ...
... going . We needed him to keep going ! The next stage is when the director joins , although we actually had two directors on Vanity Fair , because it was so big . The director is cast by the producer and so he is the other key casting ...
Стр. 134
... going to pay them and whether it was exorbitant or what . The actual production teams are allocated by our manager but with me going in and chatting about who it's going to be . . . . The choice and reservation of studios is done by ...
... going to pay them and whether it was exorbitant or what . The actual production teams are allocated by our manager but with me going in and chatting about who it's going to be . . . . The choice and reservation of studios is done by ...
Стр. 150
... going back into the very domestic , cosy stillness that's associated with most of the classics . Hence , as I was allowed to choose the title music and allowed to choose the composer , I banished floaty oboes completely so it was going ...
... going back into the very domestic , cosy stillness that's associated with most of the classics . Hence , as I was allowed to choose the title music and allowed to choose the composer , I banished floaty oboes completely so it was going ...
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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