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. xiii
... moving film which is towards the exact represen- tation of the moment . In translating literature into moving pictures , once - upon - a - time collides with here - and - now . Two examples may demonstrate this . In Citizen Kane ( 1940 ) ...
... moving film which is towards the exact represen- tation of the moment . In translating literature into moving pictures , once - upon - a - time collides with here - and - now . Two examples may demonstrate this . In Citizen Kane ( 1940 ) ...
Стр. xiv
... moving film constructs with the cooperation of its audience , which makes this easeful series of modulations possible . This is why film is so good at exposition ( notoriously difficult in literary text . ) Moving pictures take you ...
... moving film constructs with the cooperation of its audience , which makes this easeful series of modulations possible . This is why film is so good at exposition ( notoriously difficult in literary text . ) Moving pictures take you ...
Стр. xv
... moving pictures , to follow the inclination towards the spectacular , to concentrate on what will look good in film . Consequently the memorable moments in many films of the classics are not , as it were , the literary or poetic or ...
... moving pictures , to follow the inclination towards the spectacular , to concentrate on what will look good in film . Consequently the memorable moments in many films of the classics are not , as it were , the literary or poetic or ...
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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