scholarly journals Godard contra a adaptação: Carmen e outras histórias do cinema

2018 ◽  
Vol 8 ◽  
pp. 60-71
Author(s):  
Anita Leandro
Keyword(s):  
Literary Adaptation ◽  
Critical Writings ◽  
Screen Play

Resumo: Através do estudo da obra cinematográfica de Jean-Luc Godard e de seus escritos sobre o cinema, esse texto procura colocar em relevo certos aspectos do pensamento do cineasta que constituem uma verdadeira teoria da adaptação. Privilegia-se a análise de seu filme Prénom Carmen (1983), uma adaptação livre do conto homônimo de Prosper Mérimée.Palavras-chave: adaptação literária; roteiro; imagem e texto; Godard.Abstract: This study on Jean-Luc Godard’s movies and cinematographic critical writings intends to emphasizes some aspects of the movie director’s thought that constitute a real theory of literary adaptation. We mainly analyse the film Prénom Carmen (Godard, 1983), a free adaptation of Prosper’s Mérimée novel.Keywords: litterary adaptation; screen-play; image and texte; Godard.

Becoming a Global Producer: Creative and Industrial Change at Post-Studiocanal RED

2019 ◽  
Vol 16 (3) ◽  
pp. 305-326
Author(s):  
Christopher Meir
Keyword(s):  
Video On Demand ◽  
Global Strategy ◽  
Industrial Change ◽  
Export Markets ◽  
Literary Adaptation ◽  
The North ◽  
Industrial Landscape ◽  
Production And Distribution ◽  
Critical Scrutiny ◽  
The Uk

Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.

scholarly journals Whittier on Writers and Writing: The Uncollected Critical Writings of John Greenleaf Whittier.

1952 ◽  
Vol 23 (4) ◽  
pp. 525
Author(s):  
Oral Sumner Coad ◽  
Edwin Harrison Cady ◽  
Harry Hayden Clark
Keyword(s):  
Critical Writings

Narrative Form and Literary Adaptation in the Medieval North

2020 ◽  
Vol 142 (2) ◽  
pp. 214-235
Author(s):  
Alastair Matthews
Keyword(s):  
Narrative Form ◽  
Narrative Coherence ◽  
Literary Adaptation ◽  
Literary Historiography ◽  
New Approaches ◽  
Value Judgements ◽  
Literary Relations

AbstractAround 1300, ›Hertig Fredrik av Normandie‹, one of the foundational works of medieval Swedish literature, was translated from a German source of which no trace has survived. This article exposes the anachronistic expectations about narrative coherence that underpin existing attempts to reconstruct that source and how it was adapted. By focusing on the end of the bridal-quest action, the article advocates a revision of value judgements about the (in)competence of the Swedish translator. In doing so, it shows how narrative poetics can open up new approaches to medieval literary relations between Germany and Scandinavia, as well as to the literary historiography of lost texts more generally.

The "irrational Heart": Romantic Disillusionment in and

2007 ◽  
Vol 18 (1) ◽  
pp. 101-116
Author(s):  
John Bolin
Keyword(s):  
Significant Relationship ◽  
The Novel ◽  
Critical Writings

Beckett's personal and critical writings in the early 1930s evidence a dismissive attitude toward Goethe's Werther and other German Romantic figures such as Rilke. (1935-1936), however, suggests that, far from simply rejecting , by the mid 30s Beckett found the novel useful as a paradigm which he could at once satirize and pursue. This essay attempts to sketch a pattern of correspondence between these two works, indicating 's affiliation with a tradition of "romantic disillusionment." While often read as a novel of ideas, thus reveals a significant relationship to a romantic legacy of irrational desire. It is suggested a recognition of this debt helps make sense of a fundamental negativity at the end of the novel which has not been fully appreciated.

Rich voices in talky talkies: The Rich Are Always with Us

2010 ◽  
Vol 3 (2) ◽  
pp. 109-115 ◽  
Author(s):  
Martin Shingler
Keyword(s):  
New York ◽  
Critical Time ◽  
Significant Part ◽  
Literary Adaptation ◽  
The Public ◽  
Michael Curtiz ◽  
Public Enemy ◽  
Economic Austerity ◽  
Production Strategy ◽  
The Rich

Darryl F. Zanuck produced The Rich Are Always with Us (Alfred E. Green, 1932) for Warner Bros. as a prestige star vehicle for Ruth Chatterton. Set among the New York high society, the picture features characters that, in addition to being wealthy, are clever, witty and well dressed, i.e. the smart set. They are adept at delivering banter in crisp articulate voices, speaking rapidly to signify intelligence, youth and modernity. This ultra-modern film had all the hallmarks of a prestige picture: a major star, a literary adaptation, stylish sets and props, elegant and fashionable costumes designed by Orry-Kelly, and some stunning cinematography by Ernest Haller. Nevertheless, it was shot quickly and cheaply, with a supporting cast made up largely of inexpensive contract players. As much as anything else, it was the rich voices of the cast that lent an air of distinction to this production, exploiting the audience's desire to hear smart talk delivered in voices that were full toned, highly modulated, carefully enunciated and refined. While this is not the kind of film most historians consider typical of Warners in the 1930s considering the likes of The Public Enemy (William Wellman, 1931), 42nd Street (Lloyd Bacon, 1931) and 20,000 Years in Sing Sing (Michael Curtiz, 1933) to be more representative this article reveals that there was a very different side to Warners' output during the early 1930s, one that sought to take advantage of Broadway talent and create articulate movies for upmarket audiences. This article, moreover, suggests that rich voices in talky talkies were a significant part of Warners' production strategy during the early 1930s and that New York's chattering classes provided the perfect subject for prestige talking pictures at this critical time of economic austerity.

scholarly journals Hands, screws, triangles and absolute space

2009 ◽  
Vol 20 (2) ◽  
pp. 279-302
Author(s):  
Nenad Filipovic
Keyword(s):  
Modern Philosophy ◽  
Absolute Space ◽  
Original Argument ◽  
Critical Writings ◽  
Incongruent Counterparts

Hands and other incongruent counterparts are enough argument against relationist, at least Kant thought so, since some of his pre-critical writings. Arguments with incongruent counterparts are elegant and effective and they are quite attracted great attention of numerous authors who have criticized or defended the arguments in different ways. In a meanwhile discussions have gone too far from Kant's original argument, and from the spirit of that time, and received characteristics of modern philosophy and geometry. This text should show that Kant, as well as those who later defended him, did not achieve their goal - no conclusive argument against relationist have been brought by them.

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