Adaptation, Authorship, and Contemporary Women Filmmakers by Shelley Cobb (auth.)

By Shelley Cobb (auth.)

Show description

Read Online or Download Adaptation, Authorship, and Contemporary Women Filmmakers PDF

Similar film & television books

English Teaching and the Moving Image

Andrew Goodwyn's effortless method of educating in regards to the relocating photo de-mystifies this subject and indicates the way it will be simply integrated into lecture room perform. the 1st of its variety, this booklet builds on academics' wisdom of educating approximately ads, newspapers and visible diversifications of literary texts, and gives functional suggestion and tips on: * variations: not only the movie of the e-book * instructing movie * educating tv * functional paintings * New applied sciences and the relocating viewers.

Ivan the Terrible: The Film Companion (KINOfile)

Eisenstein's final, unfinished masterpiece is a wierd, complicated and haunting movie. Commissioned for my part through Stalin in 1941, Ivan the bad positioned Eisenstein within the paradoxical scenario of getting to glorify Stalinist tyranny within the snapshot of Ivan with out sacrificing his personal creative and political integrity--or his existence.

Contemporary American Independent Film: From the Margins to the Mainstream

From effortless Rider to The Blair Witch undertaking, this ebook is a finished exam of the self sufficient movie scene. Exploring the uneasy dating among self reliant motion pictures and the key studios, the members hint the altering rules and definitions of autonomous cinema, and the range of autonomous movie practices.

Additional info for Adaptation, Authorship, and Contemporary Women Filmmakers

Example text

Then the film briefly double exposes that Fanny with the fully-grown Fanny who wears a smock dress and her hair done up. She describes Queen Elizabeth I as ‘that disgrace to humanity’ for killing Mary, Queen of Scots, and concludes with a curtsey for her audience, who is now Edmund. He teasingly tells her that she ‘is awful’, and she replies, ‘all those quarrels and wars; the men good for nothing; and hardly any women at all … I often think it odd that history should be so 48 Adaptation, Authorship, and Contemporary Women Filmmakers dull; a great deal of it must be invention’.

Woolf’s words and her own work in ‘making known the writing of women whose existence had previously been obscured, covered over by the weight of the masculine canon’, inspired in feminist literary theory and criticism an ‘industry on a large scale’ invested in continuing the work of making women authors known (Bowlby, 1997: 22–23). Seminal works in this area were produced during the growth in feminist theory’s incursion into academia in the late 1970s and through the 1980s and include Elaine Showalter’s A Literature of Their Own and Sandra Gilbert’s and Susan Gubar’s The Madwoman in the Attic.

Recognition. That’s my intention, to create on screen that sense of recognition of the self, of the hidden or unspoken self, giving voice to something that’s been unspoken or suppressed in some way. Rendering visible’ (Florence, 1993: 282). What Orlando renders visible as an adaptation is women’s authorship, and Potter has given it voice and visibility. 36 Adaptation, Authorship, and Contemporary Women Filmmakers When asked in the early 1990s ‘how do you perceive, now, the particular problems women directors face in the film industry as a whole’ she responded: I’m thoroughly against complaining about it.

Download PDF sample

Rated 4.62 of 5 – based on 49 votes