French literature on screen is a multi-author volume whose eleven chapters plus an introduction offer case histories of the screen versions of major literary works by such authors as Victor Hugo, Marcel Proust, Françoise Sagan, and George Simenon. Written by leading experts in the field, the various chapters in this volume offer insightful investigations of the artistic, cultural, and industrial processes that have made screen versions of French literary classics a central element of the national cinema.
French literature on screen breaks new scholarly ground by offering the first trans-national account of this important cultural development. These film adaptations have been important in both the American and British cinemas as well. English language screen adaptations of French literature evince the complexity of the relationship between the two texts, the two media, as well as opening up new avenues to explore studio decisions to contract and distribute this particular type of ‘foreign’ cinema to American and British audiences. In many respects, the ‘foreign’ quality of master works of the French literary canon remain their appeal over the decades from the silent era to the present.
The essays in this volume also address theoretical concerns about the interdependent relationship between literary and film texts; the status of the ‘author’, and the process of interpretation will be addressed in these essays, as will dialogical, intertextual, and transtextual approaches to adaptation.
transcribe virtually unaltered for the screen a work whose transcendence he acknowledges a priori) (Bazin 1975 : 82/ 1967 : 54; tr. mod.). Free of the cumbersome ‘equivalents’ and ‘useless liberties’ that characterised literature-to-film adaptations, Bresson’s film strikes Bazin as so unswervingly faithful that it becomes an independent creation which bears little comparison to its source. The same could be said of Rohmer
This book explores representations of queer migrant Muslims in international literature and film from the 1980s to the present. It brings together a variety of contemporary writers and filmmakers of Muslim heritage engaged in vindicating same-sex desire from several Western locations. The book approaches queer Muslims as figures forced to negotiate their identities according to the expectations of the West and of their migrant Muslim communities. It coins the concept of queer micropolitical disorientation via the work of Gilles Deleuze and Félix Guattari, Sara Ahmed and Gayatri Gopinath. The author argues that depictions of queer Muslims in the West disorganise the social categories that make up contemporary Western societies. The study covers three main themes: queer desire across racial and national borders; Islamic femininities and masculinities; and the queer Muslim self in time and place. These thematic clusters examine the nuances of artistic depictions of queer Muslims’ mundane challenges to Western Islamophobia and Islamicate heteronormativity. Written in a scholarly but accessible style, this is a timely contribution to the controversial topic of Islam and homosexuality, forging understanding about the dissident position of Muslims who contravene heteronormative values and their equivocal political position in the West.
The outsourcing of film shoots has long been adopted by US producers to cut costs and improve box-office performance. According to the academic literature, outsourcing is exploited mainly for low- and middle-budget films, but this article aims to demonstrate that blockbusters are also migrating towards other states and countries to take part in an even more competitive film location market. It investigates 165 blockbusters released between 2003 and 2013. The collected data show that blockbuster shoots are not an exclusive to California, but are re-drawing the map of film production in favour of an even more polycentric and polyglot audiovisual panorama.
This article addresses two questions about artworks. First, why do we emotionally respond to characters and stories that we believe are fictional? Second, why are some media better than others at generating specific types of emotions? I answer these questions using psychological research that suggests our minds are not unified, but are comprised of numerous subsystems that respond differently to various aspects of artworks. I then propose a framework to help us understand how films, videogames, and literature interact with our minds in different ways, which explains why they tend to excel at generating different types of emotions.
Tattoos in crime and detective narratives: Marking and remarking examines representations of the tattoo and tattooing in literature, television and film, from two periods of tattoo renaissance (1851–1914, and around 1955 to the present). The collection reads tattoos and associated scarification, such as branding, as mimetic devices that mark and remark crime and detective narratives in complex ways. The chapters utilise a variety of critical perspectives drawn from posthumanism, spatiality, postcolonialism, embodiment and gender studies to read the tattoo as individual and community bodily narratives. The collection develops its focus from the first tattoo renaissance and considers the rebirth of the tattoo in contemporary culture through literature, children's literature, film and television. This book has a broad appeal and will be of interest to all literature and media scholars and, in particular, those with an interest in crime and detective narratives and skin studies.
Luminous presence: Derek Jarman's life-writing is the first book to analyse the prolific writing of queer icon Derek Jarman. He blended visionary queer politics with experimental self-representation and consistently created art with material drawn from his own life, using it as a generative activist force. Although he is well known for his avant-garde filmmaking, his garden and his AIDS activism, he is also the author of over a dozen books, many of which are autobiographical. Much of Jarmanʹs exploration of post-war queer identity and imaginative response to HIV/AIDS can be found in his books, such as the lyrical AIDS diaries Modern Nature and Smiling in Slow Motion, the associative book of colour Chroma, the critique of homophobia At Your Own Risk, and the activist text published alongside the film Edward II. The remarkable range and depth of his writing has yet to be fully explored by critics. Luminous Presence fills this gap. Spanning his career, Alexandra Parsons shows that Jarman’s self-reflexive response to the HIV/AIDS crisis was critical in changing the cultural terms of queer representation from the 1980s onwards. She reads Jarman's self-representations across his literary and visual works as a queer utopian project that places emphasis not on the finished product, but on the process of its production. Luminous Presence examines Jarmanʹs books in broadly chronological order so as to tell the story of his developing experimentation with self-representation. The book is aimed at students, scholars and general readers interested in queer history, literature, art and film.
This is the first full-length study of the career and achievements of David Milch, the US writer who created NYPD Blue, Deadwood and other ground-breaking television dramas. It locates Milch’s work in the traditions of American literature while tracking his career from academic research assistant to leading Hollywood screenwriter of his generation. It draws on behind-the-scenes material in order to evaluate the nature and significance of authorship, intention, collaboration and performance in his shows, and in doing so provides a major contribution to the study of television art.
their analysis of skin, editors Caroline Rosenthal and Dick Vanderbeke note that this area is a ‘largely uncharted territory’ ( 2015 : 1). Their interdisciplinary collection includes chapters examining skin in literature and film with a focus on race and trauma, with a number considering tattoos and scarification. Sociological interest in tattooing has been active for some time and has focused on community (Davidson 2016 ; DeMello 2000 , 2014 ), constructions of self (Thompson 2015 ), commemoration (Davidson 2016 ), gender (Thompson
emphatically reject the idea of weird texts prior to these ‘pre-weird’ texts of the nineteenth century. In doing so, he suppresses mythological examples of weirdness and earlier literary examples of archetypal monsters of the weird, typically from the deep ocean. I assert both genres can be traced to ancient texts and the default weird creature, the monstrous Kraken, found in an array of different literatures. Miéville, on the other hand, claims to find no historical precedent for the tentacular Kraken in ‘Gothic or traditional precedents (in “Western” aesthetics)’ (Miéville