Screening the Novel: The Theory and Practice of Literary DramatizationMacmillan, 1990 - 174 sider The book takes as its theme the relationship between literature and the contemporary means of production and distribution collectively termed 'the media' - in particular, film and television. The intention of the book is to explore and evaluate the mutual opportunities and restrictions in this relationship. In the grammar of our culture there seems to be an accepted opinion that print is superior in terms of cultural production to film, radio or television, that to read a book is somehow a 'higher' cultural activity than seeing a play on television or seeing a film. By the same token, a novel is a 'superior' work of art to film or television. The longer perspective reveals that traditionally there always is a greater respect paid to the previous mode of literary production - poetry was superior to drama, poetic drama was superior to the novel, and film attained cult and classic status initially over television. |
Inni boken
Resultat 1-3 av 34
Side 61
... Pip's relationship with Joe , and marks a turning - point in his career . This can be seen most obviously in the way Pip describes Joe . Previously , he has told us that his love for Joe was a simple matter of equality : ' I had always ...
... Pip's relationship with Joe , and marks a turning - point in his career . This can be seen most obviously in the way Pip describes Joe . Previously , he has told us that his love for Joe was a simple matter of equality : ' I had always ...
Side 69
... Pip's desire to find some kind of order in the confusion of life . In his desire to find some kind of order in life Pip readily acquiesces in the manipulation of his own life by Miss Havisham , whom he believes is his secret ...
... Pip's desire to find some kind of order in the confusion of life . In his desire to find some kind of order in life Pip readily acquiesces in the manipulation of his own life by Miss Havisham , whom he believes is his secret ...
Side 84
... Pip's humiliation at the hands of Estella , has gone altogether . Young Pip , in Lean's version of the novel , and when we first meet him in the churchyard , speaks in the smooth tones of a preparatory schoolboy . One of the leading ...
... Pip's humiliation at the hands of Estella , has gone altogether . Young Pip , in Lean's version of the novel , and when we first meet him in the churchyard , speaks in the smooth tones of a preparatory schoolboy . One of the leading ...
Innhold
ix | 26 |
The Classic Serial Tradition | 45 |
Great Expectations | 54 |
Opphavsrett | |
5 andre deler vises ikke
Andre utgaver - Vis alle
Vanlige uttrykk og setninger
achieve actually adaptation Amelia audience BBC TV BBC-1 Classic Serial Becky Sharp Beja Biddy broadcast camera characters Chris Wensley cinema classic novels Classic Serial Clive Bloom costume designer cultural David Lean's Diarmuid Lawrence Dickens Dickens's novels Dickensian director Dobbin dramatization editing episodes Estella Eve Matheson example Expectations fact FAIR VANITY FAIR fiction Film and Literature film and television film version film-makers George Bluestone going historical Jaggers Jane Austen Jonathan Miller literary Little Dorrit locations London look Magwitch Michael mind Miss Havisham narrative narrator never Novel into Film Oliver Twist original Orlick passage past Pip's play present problems production team programme prose reader Rebecca relationship role Satis House scene screen script editor Sedley sense slot story studio style tell Terrance Dicks Thackeray Thackeray's things Vanity Fair VANITY FAIR VANITY viewers visual write