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. |
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Side ii
... literary and cultural areas . It consists of anthologies , each containing original contributions by advanced scholars and experts . Each contribution concentrates on a study of a particular work , author or genre in its artistic ...
... literary and cultural areas . It consists of anthologies , each containing original contributions by advanced scholars and experts . Each contribution concentrates on a study of a particular work , author or genre in its artistic ...
Side 12
... literary work , and ultimately the skeleton of the original becomes , more or less thoroughly , the skeleton of a film . Keith Cohen looks for a more radical response from the film- maker to his literary material : he calls for ...
... literary work , and ultimately the skeleton of the original becomes , more or less thoroughly , the skeleton of a film . Keith Cohen looks for a more radical response from the film- maker to his literary material : he calls for ...
Side 101
... literary text , in this case Vanity Fair , and the actual business of making a television serial drama . He began his interviews with Terrance Dicks , the producer of the BBC - 1 Classic Serial . CW : Do you have any feelings about ...
... literary text , in this case Vanity Fair , and the actual business of making a television serial drama . He began his interviews with Terrance Dicks , the producer of the BBC - 1 Classic Serial . CW : Do you have any feelings about ...
Innhold
ix | 26 |
The Classic Serial Tradition | 45 |
Great Expectations | 54 |
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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