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
... sense of immediacy , of the here - and - now , which creates a sense of the continuous present . Film is now , as you see it . The very sharpness of this sense of the present time provides for a swift but credible switch of time from ...
... sense of immediacy , of the here - and - now , which creates a sense of the continuous present . Film is now , as you see it . The very sharpness of this sense of the present time provides for a swift but credible switch of time from ...
Стр. 34
... sense is to be found in the appearance of the word ' anachronism ' about 1646.7 A work such as Thomas Fuller's The Worthies of England ( 1662 ) is shot through with this new historical sense . Fuller was trying to describe the present ...
... sense is to be found in the appearance of the word ' anachronism ' about 1646.7 A work such as Thomas Fuller's The Worthies of England ( 1662 ) is shot through with this new historical sense . Fuller was trying to describe the present ...
Стр. 75
... sense of anonymity , not only of Magwitch , but also of the other thirty or so prisoners , reinforces the idea that these characters are merely acting out roles in an uncaring society , and this increases our strong sense of indignation ...
... sense of anonymity , not only of Magwitch , but also of the other thirty or so prisoners , reinforces the idea that these characters are merely acting out roles in an uncaring society , and this increases our strong sense of indignation ...
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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