Books in Motion: Adaptation, Intertextuality, Authorship by Mireia Aragay

By Mireia Aragay

Books in movement addresses the hybrid, interstitial box of movie edition. The introductory essay integrates a retrospective survey of the improvement of version reviews with a forceful argument approximately their centrality to any background of culture-any dialogue, that's, of the transformation and transmission of texts and meanings in and throughout cultures. The 13 specially composed essays that keep on with, organised into 4 sections headed 'Paradoxes of Fidelity', 'Authors, Auteurs, Adaptation', 'Contexts, Intertexts, version' and 'Beyond Adaptation', variously illustrate that declare by means of problematising the suggestion of constancy, highlighting the position performed by means of edition when it comes to altering strategies of authorship and auteurism, exploring the level to which the intelligibility of movie variations relies on contextual and intertextual elements, and foregrounding the necessity to go beyond any narrowly-defined inspiration of variation. dialogue levels from diversifications of confirmed classics like A story of 2 towns, Frankenstein, Henry V, Le temps retrouv?, Mansfield Park, delight and Prejudice, 'The lifeless' or Wuthering Heights, to modern (popular) texts/films like Bridget Jones's Diary, Fools, The Governess, excessive constancy, The Hours, The Orchid Thief/Adaptation, the paintings of Doris D?rrie, the 1st Harry Potter novel/film, or the diversifications made via Alfred Hitchcock, Stanley Kubrick and Walt Disney. This e-book will entice either a specialized readership and to these getting access to the dynamic box of version stories for the 1st time. Mireia Aragay is Senior Lecturer in English literature and movie on the college of Barcelona, Spain.

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Western Illinois University Press, 9-17. Repr. in D. Andrew (1984) Concepts in Film Theory. Oxford: Oxford University Press; in L. Braudy and M. ) (1999 (1974)) Film Theory and Criticism: Introductory Readings. Oxford: Oxford University Press, 452-60; and in J. ) (2000) Film Adaptation. London: Athlone, 2837. —— (1993) ‘The Unauthorized Auteur Today’, in J. Collins et al. ) Film Theory Goes to the Movies. New York and London: Routledge, 77-85. Astruc, A. (1999 (1948)) ‘The Birth of a New Avant Garde: La Caméra-Stylo’, in T.

And now that we’ve done washing, and combing, and sulking—tell me whether you don’t think yourself rather handsome? I’ll tell you, I do. You’re fit for a prince in disguise. Who knows but your father was Emperor of China, and your mother an Indian queen, each of them able to buy up, with one week’s income, Wuthering Heights and Thrushcross Grange together? And you were kidnapped by wicked sailors and brought to England. ” (E. Brontë 2000: 56) Heathcliff’s handsomeness is stressed again, much to Cathy’s chagrin, after his return from a mysterious absence of three years provoked by her engagement to Edgar.

2002) ‘Bewitched, Bothered, and Bored: Harry Potter, the Movie’. On-line. readingonline. html (20 January 2004). Rowling, J. K. (1997) Harry Potter and the Philosopher’s Stone. London: Bloomsbury. Zipes, J. (2001) Sticks and Stones: The Troublesome Success of Children’s Literature from Slovenly Peter to Harry Potter. London and New York: Routledge. Welsh, J. (2002) ‘Editorial: Competing Wizards’, Literature/Film Quarterly, 30 (2), 78-9. Filmography Columbus, C. dir. (2001) Harry Potter and the Sorcerer’s Stone.

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