Search results for "film adaptation"
showing 10 items of 13 documents
About adapting Conrad's prose to film
2021
On the example of Apocalypse Now by F. F. Coppola, Heart of Darkness by N. Roeg, The Duellists by R. Scott, The Shadow Line by A. Wajda, and Secret Sharer by P. Fudakowski, I would like to show that Joseph Conrad’s prose is a cinematic trap for film directors. This being so, I attempt to answer the question as to why it is so difficult to make a film of something that is so cinematic, when it is being read, and why film adaptations that closely follow Conrad’s narratives are less Conradian than films which are “merely” inspired by Conrad’s works.
"Tajemny wspólnik" Josepha Conrada i "Tajemniczy sojusznik" Petera Fudakowskiego
2018
Although Peter Fudakowski's film is distinctly different from its literary original, and is not a faithful adaptation, it is very faithful to Conrad's message. It tells the story of the young captain; his increasing responsibility for his crew and his ship. Similarity of their (the writer and the filmmaker) memories and experience made Fudakowski understand and express Conrads message and interpret his prose in his own artistic way.
Context in film adaptations
2018
La Sicilia negli Orsi di Dino Buzzati e Lorenzo Mattotti
2022
Nella fiaba illustrata di Dino Buzzati La famosa invasione degli orsi in Sicilia (1945) e nella sua trasposizione filmica ad opera di Lorenzo Mattotti (2019) l’ambientazione siciliana è determinante. In entrambi i casi la Sicilia è un’isola con un grande vulcano – trasfigurata in un ambiente fantastico o riscritta secondo alcuni stereotipi – che i due autori utilizzano con accezioni diverse nella costituzione dell’ecosistema delle loro narrazioni. Soltanto attraverso una comparazione tra le due opere sarà possibile distinguere la rappresentazione delle due Sicilie che vengono raccontate con un intervallo di circa settanta anni. Se non si considera la storia degli Orsi soltanto una fiaba per…
“Mise en Cadre” of the Social Drama in Joe Wright's Pride & Prejudice (2005)
2006
Cet article s'intéresse aux effets très originaux de « mise en cadre » dans cette récente adaptation du roman de Jane Austen, notamment l'emploi de la caméra mobile (Steadycam et caméra à l'épaule), du hors-champ et de l'espace. Cet élément de l'écriture filmique est utilisé pour articuler la thématique de la classe sociale avec l'identité générique et l'origine littéraire du film. Ainsi, la caméra mobile contribue à la théâtralité du film tout en marquant les limites du champ visuel de la caméra qui permet, par contre, d'apercevoir en arrière-plan les serviteurs, le plus souvent hors-texte dans le roman. La gestion de l'espace, elle, permet à la fois d'opposer et de mêler les différentes c…
“Editing Out the Narrator: George Roy Hill’s Adaptation of Slaughterhouse-Five”
1991
International audience
Beatrix Potter au cinéma: 1971-2018
2018
Cinematic dialogue, literary dialogue, and the art of adaptation : dialogue metamorphosis in the film adaptation of The green mile
2004
El espacio de la ficción es el tiempo del espectador: la reflexividad de la mirada a la cámara en Un verano con Mónica
2022
Un verano con Mónica (Ingmar Bergman, 1952) fue un referente para los cineastas que buscaban nuevas formas de hacer cine durante los años 60 y 70 porque con la mirada a la cámara de su protagonista se anticipó a la reflexividad característica de la modernidad cinematográfica. Al irrumpir inesperadamente en la narración, esta mirada se convierte en una estrategia autoconsciente dirigida a desarticular no solo la ficción cinematográfica, sino también la ficción de Mónica, que se ha apropiado simbólicamente del mundo imaginario proyectado por el cine.