scholarly journals Pierwsza ekranizacja Pana Twardowskiego

2017 ◽  
Vol 20 (29) ◽  
pp. 149-160
Author(s):  
Małgorzata Hendrykowska ◽  
Marek Hendrykowski
Keyword(s):  
New York ◽  
Film Adaptation ◽  
Feature Film ◽  
Part Feature

The article discusses the oldest recorded film adaptation of the legend of Pan Twardowski, found in the archives of the George Eastman House in Rochester, New York. The two-part feature film was filmed in Russia between 1916 and 1917, and its creator was the famed Polish filmmaker Władysław Starewicz.

scholarly journals Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta

2019 ◽  
Author(s):  
Roksana Pilawska
Keyword(s):  
Comparative Analysis ◽  
Jane Austen ◽  
Film Adaptation ◽  
Pride And Prejudice ◽  
Feature Film ◽  
Research Material ◽  
New Form ◽  
Similarities And Differences ◽  
The Aesthetic ◽  
Audiovisual Presentation

Pilawska Roksana, Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta [Dirty (un)Romantic story. An Analysis of Aesthetic Aspects in the Film Adaptation of Pride and Prejudice Directed by Joe Wright]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 417–431. ISSN 1644-6763. DOI 10.14746/pt.2019.32.23. The aim of my study is to attempt a comparative analysis of the two most famous film adaptations of the bestselling novel by Jane Austen, Pride and Prejudice. As research material, I chose the mini-series produced by the BBC in 1995, which was part of the then popular trend of heritage films (heritage cinema) and the feature film from 2005, directed by Joe Wright, which, in the opinion of film experts, was a completely new form of audiovisual presentation of Austen’s work. In the article, I focus only on interpreting the aesthetic aspects of both productions, which would indicate similarities and differences, thus showing numerous shifts of emphasis in the aesthetic layer of the newer version.

Mythology

Ridley Scott ◽  
2019 ◽  
pp. 78-83
Author(s):  
Vincent LoBrutto
Keyword(s):  
New York ◽  
Fairy Tale ◽  
Original Version ◽  
Ridley Scott ◽  
Feature Film ◽  
Big Brother ◽  
Box Office ◽  
The Future ◽  
To Come ◽  
Athletic Woman

In the Orwellian year of 1984, during Super Bowl XVIII, a commercial for Apple’s Mackintosh computer ran and became one of the most eye-catching and provocative sixty-second spots ever made. It was never shown again on television. As directed by Ridley Scott, the commercial portrays the grim world of the future dominated by Big Brother until a beautiful, athletic woman liberates everyone. For his next feature film Scott embraced the fantasy genre with Legend, a good versus evil tale set it a mythical land. Disaster hit the production when the entire elaborate set burned down. Miraculously, no one was injured, and the fairy tale environment was quickly rebuilt. The original version of Legend did poorly in front of test audiences and Scott cut it down radically, which hurt the film even more at the box office. In 1986 Ridley Scott Associates was expanded with the addition of a New York office, with more to come in the future.

The Film Kids 25 Years On: A Qualitative Study of Rape Culture and Representations of Sexual Violence in Skateboarding

Young ◽  
2020 ◽  
pp. 110330882096645
Author(s):  
Indigo Willing
Keyword(s):  
New York ◽  
Sexual Violence ◽  
Sexual Coercion ◽  
Cultural Dimensions ◽  
Rape Culture ◽  
25Th Anniversary ◽  
Feature Film ◽  
Male Power ◽  
The Social ◽  
Feminist Theories

This article examines the 1995 fictional feature film Kids, which locates its story in skateboarding culture. The film reached its 25th anniversary in 2020; it is directed by Larry Clark and written by Harmony Korine, both recognizable figures in skateboarding, and it featured a cast of youth from the New York skateboarding scene. The research analyses narrative content that depicts sexual coercion and rape. Contemporary social and feminist theories of sexual violence, rape culture and media on the film inform the analysis. The discussion points to how the characters that the boys play embody forms of hegemonic masculinity, pointing to the social and cultural dimensions of male power and how sexual violence can be an element of that. The article also presents an occasion to reflect on such issues in skateboarding culture more widely, with emerging insights that can be useful to studies of other male-dominated youth cultures, lifestyle sports and subcultures.

Blue Jeans Stage and Screen

2018 ◽  
Vol 46 (1) ◽  
pp. 59-72
Author(s):  
David Mayer ◽  
Helen Day-Mayer
Keyword(s):  
New York ◽  
Visual Culture ◽  
Silent Film ◽  
Film Adaptation ◽  
Victorian Culture ◽  
Distinctive Features ◽  
Attempted Murder ◽  
Modern Media ◽  
Blue Jeans

Scholars of Victorian and Edwardian theatre necessarily piece together their accounts of ephemeral performance through manuscripts, reviews, and other responses preserved in print and visual culture. However, films made between 1895 and 1935 offer frequent, unexpected, and sometimes curiously skewed glimpses of the Victorian and Edwardian stage. This essay focuses on John H. Collins’s 1917 silent film adaptation of Blue Jeans, Joseph Arthur’s melodrama, popular from its New York debut in 1890. The melodrama is perhaps most famous for ‘the great sawmill scene’. This iconic scene, an early example of an episode in which a helpless victim is tied to a board approaching a huge buzz saw, turns a mundane setting into a terrifying site for suspense, violence, and attempted murder. Whilst the film made alterations and abridgements, the overall effect was to preserve the play’s distinctive features. Our essay shows how the stage version is preserved within Collins’s film adaptation so that the cinematic artefact gives unique access to the Victorian theatrical work. Films not only preserve Victorian forms in modern media and extend the reach of Victorian culture, but also open a new resource and methodology for understanding Victorian and Edwardian theatre.

scholarly journals The Time Capsule and the Cut-Up: Negotiating Temporality, Anticipating Catastrophe

2020 ◽  
Vol 37 (7-8) ◽  
pp. 95-114
Author(s):  
John Beck ◽  
Mark Dorrian
Keyword(s):  
New York ◽  
Atomic Bomb ◽  
World's Fair ◽  
Feature Film ◽  
Complex Relation ◽  
New York World's Fair ◽  
The Face ◽  
Time Capsule ◽  
And Control

The first feature film made about the design and deployment of the atomic bomb, The Beginning or the End (1947), begins with fake newsreel footage depicting the burial in a time capsule of a copy of the film and a projector to show it on. The scene, with its funereal overtones yet grim optimism that, even in the face of catastrophic destruction, the germ of civilization will endure, recalls the ceremonies surrounding the interment of the Westinghouse time capsule at the New York World’s Fair in 1939. Time capsules, this article argues, stand in a complex relation to war and temporality, seeking to at once anticipate and work through the challenge posed to futurity by the threat of global conflict. As a container, the capsule attempts to deliver and control the reception of a legible inventory of the present, yet the principle of selection and the impossibility of predicting how information might be received in the deep future – if it is received at all – threatens this aim. The dilemma faced by time capsule curators is, we argue with reference to William Burroughs’ and Brion Gysin’s so-called cut-up method of writing, one of control. By reading the time capsule through the cut-up, anticipated catastrophe can be seen to be functioning proleptically in the present and already active as a challenge to the capsule as proof against disaster.

scholarly journals Melodrama's afterlife : Jane Eyre, David Copperfield, and The Woman in White from the Victorian stage to the silent screen

2010 ◽  
Author(s):  
◽  
Karen Laird
Keyword(s):  
New York ◽  
Silent Film ◽  
Reciprocal Relationship ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Jane Eyre ◽  
Victorian Era ◽  
David Copperfield ◽  
Woman In White ◽  
Written Word

Unique in building a much-needed bridge between fiction, theatre, and film, "Melodrama's Afterlife" proves that writers working in all three genres throughout the long Victorian era engaged in a reciprocal relationship bound by their common use of melodrama. Covering dramatic adaptations of Jane Eyre, David Copperfield, and The Woman in White staged between 1848 and 1878 in London and New York, this dissertation argues that the first playwrights prioritized experimentation over fidelity to their source texts. These three case studies reveal the Victorians to be pioneers in the art of adaptation. Silent film directors depended more heavily upon these Victorian playscripts as sources for their film adaptations than the original novels. By unearthing the adaptation strategies of the Victorian theatre and early twentieth-century cinema, "Melodrama's Afterlife" ultimately challenges the theory predominant among adaptation scholars today, which holds that the experimentation evident in contemporary film adaptations represents a revolutionary break from a century-long concern with fidelity to the written word. This study proves that our new focus on originality and experimentation in film adaptation is not so much a breaking away from an older model of film adaptation. Instead, it is a return to Modernist adaptation approaches that were rooted in Victorian melodrama.

Samurai Kabuki

2020 ◽  
pp. 281-286
Author(s):  
Jonathan R. Eller
Keyword(s):  
Digital Media ◽  
Chinese Culture ◽  
Late Life ◽  
Time Travel ◽  
Film Adaptation ◽  
Honorary Degree ◽  
Special Effects ◽  
Feature Film ◽  
John Huston ◽  
The University

The ghosts that Bradbury had carried since his challenging time in early 1950s Ireland with John Huston were finally laid to rest when Bradbury received an honorary degree from the University of Ireland, Galway, home to the Huston School of Film and Digital Media. Chapter 41 also describes the film adaptation of A Sound of Thunder (2005) and the need to extend this time travel story into a feature film requiring more special effects than the production could afford. In spite of excellent casting and strong performances, the film fell short of the mark for critics and audiences. The chapter also describes Bradbury’s late-life reflections on Japanese and Chinese culture and his attempts to have Samurai Kabuki produced as a film.

Sign in / Sign up

Export Citation Format

Share Document