Auf glattem Parkett

2013 ◽  
Vol 38 (2) ◽  
Author(s):  
Sigrid Nieberle
Keyword(s):  
Nineteenth Century ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Ballroom Dancing ◽  
Historical Life

Ballroom dancing may be understood as a well-known allegory for social and historical life in the nineteenth century. Even film adaptations of specific novels which contain no ballroom dancing at all show us spectacular and splendid sequences. Discussing the example of Heinrich Breloers film adaptation

Review of Friedrich Meinecke, Machiavellism: The Doctrine of Raison d’état and its Place in Modern History (London: Routledge & Kegan Paul, 1957)

2021 ◽  
pp. 317-318
Author(s):  
Martin Wight
Keyword(s):  
Nineteenth Century ◽  
International Relations ◽  
International Politics ◽  
Personal Responsibility ◽  
State Power ◽  
Modern History ◽  
Human Thought ◽  
Raison D’État ◽  
Historical Life

Wight praised Meinecke’s Die Idee der Staatsräson, translated as Machiavellism: The Doctrine of Raison d’état and its Place in Modern History, as ‘by any odds the most important and enduring book on international relations published in the 1920s, and perhaps between the wars’. It is, Wight wrote, ‘an essay in the historiography of human thought, a study of how Machiavelli’s principles infiltrated into European statecraft, how thinkers and politicians who most strenuously repudiated him found it necessary to borrow from him, and how the idea of raison d’état developed to guide the greatest statesmen from Richelieu to Bismarck, until it was swamped by the ignorant popular passions of 1918’. Meinecke was preoccupied, Wight observed, with (in Meinecke’s words) ‘that tragic duality which came into historical life through the medium of Machiavellism—that indivisible and fateful combination of poison and curative power which it contained’. Moreover, Wight added, the tension between ‘necessity’ and ‘moral traditions’ has been recognized by some statesmen ‘as the central experience of international politics’. Wight noted that ‘Meinecke, despite his honourable retirement under the Nazis, was infected with the German heresy of idealizing State power and fatalistically abdicating personal responsibility. … Yet it was easier for a Burckhardt or an Acton, in the security of nineteenth-century Switzerland or Britain, to condemn power as evil without qualification.’

Reading Climate Change in the Palimpsest: The Ecocritical Potential of Novel-to-Film Adaptation

Adaptation ◽  
2020 ◽  
Author(s):  
Nandita Mahajan
Keyword(s):  
Climate Change ◽  
Film Adaptation ◽  
Environmental Crisis ◽  
Film Adaptations ◽  
Text And Image ◽  
Hunger Games ◽  
The Road ◽  
Physical Form ◽  
The Hunger Games ◽  
Gerard Genette

Abstract This essay theorizes the manifestation of the theme of climate change in the reception of novels and their film adaptations. To this end, I draw from and adapt Amitav Ghosh’s conception of textual hybridity: asserting that the era of climate change perhaps requires a movement beyond language to the image, which he believes is better capable of representing physical form, Ghosh prophesies that literature will evolve to incorporate hybrid forms that entwine text and image, such as the graphic novel. Drawing from Gérard Genette, as well as from various adaptation theorists’ descriptions of the doubled perception of an adaptation by audiences acquainted with its source text, I suggest a shift from Ghosh’s idea of hybrid creation to that of hybrid reception. I argue that the reception of a film adaptation of a novel as an adaptation, rather than as a standalone cinematic text, involves a palimpsest-like superimposition of literature and cinema—text and image—in the spectator’s mind, constituting a rich, hybrid experience that can potentially enhance the recipient’s perception of environmental issues in both texts involved. I demonstrate this theory via close readings of Suzanne Collins’s The Hunger Games trilogy and its film adaptations, and Cormac McCarthy’s The Road and its film adaptation, illustrating the various kinds of intertextual relationships that arise out of what I call palimpsestuous reading, and ultimately indicating the value of adaptation in an age of environmental crisis.

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.

scholarly journals THE PHENOMENON OF DISRUPTED COMMUNICATION IN THE NOVEL “EFFI BRIEST” BY THEODOR FONTANE AND IN THE FILM ADAPTATION BY RAINER WERNER FASSBINDER: SPEECH AND GESTURE

2021 ◽  
Vol 6 (3) ◽  
pp. 49-72
Author(s):  
Александра Владимировна Елисеева
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Close Reading ◽  
Theodor Fontane ◽  
The Novel ◽  
Hierarchical Relationship ◽  
The Subject ◽  
Effi Briest

The subject of this article’s comparative intermedial analysis is the phenomenon of disrupted communication in the novel by the German writer Theodor Fontane “Effi Briest” (1895) and in the film adaptation of this work by Rainer Werner Fassbinder “Fontane Effi Briest” (1974). The article consists of five parts: 1) introduction; 2) analysis of dialogues in Fontane’s novel; 3) description of the means of creating the effect of disrupted communication in Fassbinder’s film; 4) comparative analysis of some fragments of two works by the method of close reading; 5) conclusions. Methodologically, the research is based on the achievements of the theory of communication, carpalistics, comparative and intermedial approaches to the study of film adaptations. The main point of the article is that the effect of disrupted communication, which is observed in numerous dialogues of Fontane’s novel, is also created by visual means in Fassbinder’s film, among which a significant place is occupied by a gesture. The gesture of turning away deserves special attention: the characters of the film turn away from each other, turn their backs to the interlocutor and the viewer, turn to their reflection. The unconventionality and intensity of such gestures accentuate the problematic nature of communication between the characters. This structure, peripheral in Fontane’s work, becomes central in the film of Fassbinder, grasping the viewers’ attention. In this regard, the article adds to a traditional discussion about the hierarchical relationship between a literary text and its film adaptation.

The Irresistible Fairy Tale

2012 ◽  
Author(s):  
Jack Zipes
Keyword(s):  
Nineteenth Century ◽  
Cognitive Science ◽  
Evolutionary Theory ◽  
Literary Theory ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Great Difficulty ◽  
Film Adaptation ◽  
Wide Range ◽  
The World

If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, evolved, and spread—or why so many people cannot resist its appeal, no matter how it changes or what form it takes. This book presents a provocative new theory about why fairy tales were created and retold—and why they became such an indelible and infinitely adaptable part of cultures around the world. Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, the book presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making its case, the book considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's “Bluebeard”; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions. While we may never be able to fully explain fairy tales, this book provides a powerful theory of how and why they evolved—and why we still use them to make meaning of our lives.

scholarly journals A Review of Received/Dominant/Western Film Adaptation Literatures, Or The Possibilities for a (De-Westernized) Filipino Theory

Plaridel ◽  
2018 ◽  
Vol 15 (2) ◽  
pp. 157-188
Author(s):  
Joyce Arriola
Keyword(s):  
The Philippines ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Theoretical Discussion ◽  
Adaptation Theory ◽  
The 1950S ◽  
Western Film

First, as part of a longer work on theorizing Filipino adaptation, this study discusses extant samples of komiks-to-film adaptations in the 1950s. The study reviews received/dominant/Western adaptation literatures that have dominated the field. Secondly, it argues for the following points as a springboard to construct a theory of adaptation: The limits of received/dominant/Western film adaptation theory dominating postcolonial cinemas such as the Philippines; The need to de-Westernize theory or to indigenize Filipino film adaptation theory; and To recognize constructs and formulate concepts from historical and cultural Filipino realities to inform the theory. This study is a meta-theoretical discussion that will begin the construction of a Filipino film adaptation theory.

scholarly journals VICTORIAN LITERATURE AND FILM ADAPTATION

2017 ◽  
Vol 45 (2) ◽  
pp. 451-459 ◽  
Author(s):  
Antonija Primorac
Keyword(s):  
Victorian Literature ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Hierarchical Approach ◽  
Adaptation Studies ◽  
Early Twenty ◽  
The One ◽  
The Uk ◽  
Work Done ◽  
Literature And Film

“The book was nothing likethe film,” complained one of my students about a week or so after the premiere of Tim Burton'sAlice in Wonderland(2010). Barely able to contain his disgust, he added: “I expected it to be as exciting as the film, but it turned out to be dull – and it appeared to be written for children!” Stunned with the virulence of his reaction, I thought how much his response to the book mirrored – as if through a looking glass – that most common of complaints voiced by many reviewers and overheard in book lovers’ discussions of film adaptations: “not as good as the book.” Both views reflect the hierarchical approach to adaptations traditionally employed by film studies and literature studies respectively. While adaptations of Victorian literature have been used – with more or less enthusiasm – as teaching aides as long as user-friendly video formats were made widely available, it is only recently that film adaptation started to be considered as an object of academic study in its own right and on an equal footing with works of literature (or, for that matter, films based on original screenplays). Adaptation studies came into its own in early twenty-first century on the heels of valuable work done by scholars such as Brian McFarlane (1996), Deborah Cartmell and Imelda Whelehan (1999), James Naremore (2000), Robert Stam (2000), Sarah Cardwell (2002), and Kamilla Elliott (2003) which paved the way for a consideration of film adaptations beyond the fidelity debate. The field was solidified with the establishment in 2006 of the UK-based Association of Literature on Screen Association (called Association of Adaptation Studies from 2008) and the inception of its journalAdaptation, published by Oxford University Press, in 2008. Interdisciplinary in nature, the field primarily brought together literature and film scholars who insisted that adaptations were more than lamentably unfaithful or vulgar versions of literature mired in popular culture and market issues on the one hand, or merely derivative, impure cinema on the other. The foundational tenets of adaptation studies therefore included a non-judgemental and non-hierarchical approach to the relationship between the text and its adaptation, and a keen awareness of film production contexts. These vividly illustrate the field's move away from discussing fidelity to the “original” which, thanks to the work of Linda Hutcheon (2006), started to be increasingly referred to simply as “adapted text.” Hutcheon's book came out at the same time as another foundational monograph on the subject, Julie Sanders'sAdaptation and Appropriation(2005) which contributed to the debate through its focus on intertextual links and the palimpsestuous nature of adaptations, in which debate on fidelity was substituted with the analysis of the distance between the text and its adaptation(s).

Children’s Meta-adaptation

2019 ◽  
pp. 152-177
Author(s):  
Casie E. Hermansson
Keyword(s):  
Case Studies ◽  
Film Adaptation ◽  
Film Adaptations ◽  
The Novel ◽  
Scholarly Work

This chapter concludes the book by identifying a subset of film adaptations of children’s metafictions that function as meta-adaptations. Although scholarly work on meta-adaptation is still emergent, it is clear that children’s genres already engage this mode. The chapter argues that while ‘metafilm’ is a problematic ‘equivalence’ for metafiction, meta-adaptation lifts the curtain on the otherwise-hidden processes of adaptation itself. The chapter presents the phrase ‘breaking the fifth wall’ for meta-adaptation. The chapter provides case studies of two book to film adaptations to illustrate two different but prominent types of meta-adaptation: The Invention of Hugo Cabret/Hugo, and the novel series A Series of Unfortunate Events and both the novels’ film adaptation and Netflix series (season 1).

Sunt altera nobis sidera, sunt orbes alii: Imagining Subterranean Peoples and Places in Medieval Latin Literature

Mediaevistik ◽  
2020 ◽  
Vol 32 (1) ◽  
pp. 105-118
Author(s):  
Scott G. Bruce
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Science Fiction ◽  
Speculative Fiction ◽  
Film Adaptation ◽  
Latin Literature ◽  
Medieval Latin ◽  
American Science ◽  
The Earth ◽  
Earth's Crust

Owing to the enduring popularity of Jules Verne’s science fiction story Journey to the Center of the Earth (1864), modern readers have taken for granted a hollow, habitable core beneath the earth’s crust as a time-honored, though scientifically implausible, setting for speculative fiction.1 Verne’s fantastic tale of Professor Otto Lidenbrock’s descent into the Icelandic volcano Snæfellsjökull and his perilous adventures underground featuring forests of giant mushrooms and prehistoric monsters remains the most widely read work of nineteenth-century “subterranean fiction.” In 1926, the story was reprinted in a three-part serial in the widely-read American science fiction magazine Amazing Stories (Fig. 1). Throughout the twentieth century, it spawned a host of imitators, from Edgar Rice Burrough’s Pellucidar series (1914‐1963) to C. S. Lewis’ Narnian chronicle The Silver Chair (1953), as well as a successful 1959 film adaptation starring James Mason and Pat Boone.

Interventions

2017 ◽  
Keyword(s):  
Nineteenth Century ◽  
Popular Culture ◽  
Film Adaptations ◽  
Literary Production ◽  
Nineteenth Century Literature ◽  
Cultural Exchanges ◽  
American Publishing ◽  
Anglo American ◽  
Century Literature ◽  
Nineteenth Century Studies

This book explores a number of new critical contexts in which nineteenth century literature can be discussed. The volume also explores the idea of the Victorian ‘Afterlife’ and examines neo-Victorian text based narratives and film adaptations. Topics discussed include science, poetry, the Gothic, anatomical exhibitions, the spread of liberalism, Anglo-American publishing, and Punjabi popular culture. The national contexts of literary production are explored as are the international cultural exchanges of the period. The book is intended to provide a critical re-examination of the long nineteenth century by bringing together a number of intellectually challenging perspectives that seek to develop the field of nineteenth century studies.

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