“The Road to Oz”

2018 ◽  
pp. 27-52
Author(s):  
Benjamin Sears
Keyword(s):  
Full Length ◽  
Original Novel ◽  
Feature Film ◽  
The Road ◽  
New Interpretation

This chapter discusses the adaptation of the script for the MGM film, focusing on the conversion of the original novel to a full-length feature film and addressing the issues faced by changing medium. It looks at alterations made to the story, including the deletion of episodes in the book for the film, and changes in (and deletions of) characters from novel to film. The chapter explores the use of music to enhance the fantasy aspect of the film and the musical conventions used such as introductory songs for Dorothy’s three companions. Although the film is a new interpretation, it retains the sense of a magical world that made the Baum books so popular.

Narrative

2020 ◽  
pp. 36-61
Author(s):  
Gary D. Rhodes ◽  
Robert Singer
Keyword(s):  
Life Story ◽  
Full Length ◽  
Television Commercials ◽  
Television Commercial ◽  
Feature Film ◽  
Narrative Forms ◽  
Tv Commercial ◽  
Narrative Framework

To explore these issues in-depth, Chapter 2 covers narrative, specifically examining how television commercials operate in terms of Scene, Genre, Cross-Genre, and the Remake. This chapter contends that the narrative framework for producing the television commercial is arguably, shot by shot, second to second, as frequently creative as a full-length feature film. Some commercials utilize cinematic narrative forms of Hollywood; others diverge from the same. The product and its “message” might be realistic or wholly fantastic; nevertheless, the TV commercial is indeed a narrative, a critically substantial formation, whether it unfolds in the form of a slice-of-life story or a presentational style pitch.

Spaces of History and Memory: The Works on the Anti-Rightist Campaign

2021 ◽  
Author(s):  
Elena Pollacchi
Keyword(s):  
Full Length ◽  
Close Reading ◽  
Historical Injustice ◽  
History And Memory ◽  
Feature Film ◽  
Central Concern ◽  
Dead Souls ◽  
Mature Work

This chapter approaches history as a central concern in Wang Bing’s filmmaking. It deals with spaces of history and memory, in particular in relation to the Anti-Rightist Campaign of 1957–59. It highlights Wang’s interest in unveiling the gaps and the contradictions imbued in state narratives at different epochs. A close reading of Wang’s only full-length feature film so far The Ditch (2010) and a comparative reading of it with Pier Paolo Pasolini’s Salò (1975) are given in the first section of the chapter. The second section focuses on Wang’s mature work Dead Souls (2018) as a visual archive of witnesses on the campaign and as a way to testify to historical injustice, also recalling Claude Lanzmann’s Shoah (1985).

scholarly journals Krzysztof Kieślowski’s “Camera Buff”: a revised version of “First Love”

2019 ◽  
Vol 24 (33) ◽  
pp. 129-136
Author(s):  
Tadeusz Lubelski
Keyword(s):  
Full Length ◽  
Feature Film ◽  
First Child ◽  
Fictitious Character ◽  
Creative Experience ◽  
Main Protagonist

The article develops its title thesis, which proposes interpreting Kieślowski’s Camera Buff (Amator, 1979), his second full-length feature film, as a revised version of his documentary First Love, made five years earlier. Both films have similar starting points ‒ the story of a couple expecting the birth of their first child. But the conclusion in each case also has something in common and results in the abandoning of a film project. The latter similarity meant that Kieślowski changed the character of the main protagonist in his full-length movie. It is no longer a documentary hero but the film auteur himself. This was probably the essence of the director’s artistic discovery made while shooting Camera Buff. It meant the abandonment of the documentary character when the prolonged relationship with him (and her) proved to be ethically dubious and his (and her) development predictable. At the same time, Kieślowski expressed his own creative experience as the film’s author creating a fictitious character in Camera Buff, inspired by various figures of real ‘prototypes’.

Michel Gondry as Transcultural Auteur

2020 ◽  
pp. 1-14
Author(s):  
Marcelline Block ◽  
Jennifer Kirby
Keyword(s):  
Short Film ◽  
Romantic Comedy ◽  
Art Cinema ◽  
Feature Film ◽  
Cultural Contexts ◽  
Popular Cinema ◽  
The Road ◽  
Award Winning ◽  
Television Documentary ◽  
Academy Award

In the introduction to this volume, “Michel Gondry as Transcultural Auteur,” editors Marcelline Block and Jennifer Kirby present an overview of Gondry’s career as well as this volume’s approaches to Gondry’s oeuvre. Born in Versailles, France in 1963, Gondry is an Academy Award-winning transnational (France-USA) and transcultural (French-American) auteur whose body of work as a writer, director, and producer spans multiple genres—including feature film, short film, television, documentary, music video, big budget superhero film, romantic comedy, the road movie, advertisements—and languages (English, French, Japanese). In this respect, Gondry can be considered a contemporary globalized auteur whose films and other works display continuities and eclecticism. In addition, this introduction presents an overview of each of this volume’s sections and chapters in terms of how they identify connections and continuities between Gondry’s films while placing Gondry’s oeuvre in dialogue with French and American cinematic traditions and socio-cultural contexts. The introduction puts forth this volume’s main contention, namely that “Gondry is emblematic of transnational auteur filmmaking…crossing aesthetic and cultural borders between national film industries as well as between art and popular cinema and between media” and how Gondry’s oeuvre defies classification according to traditional conceptions of European art cinema.

scholarly journals Human Trafficking Interdiction with Decision Dependent Success

2020 ◽  
Author(s):  
BARIS TEZCAN ◽  
Kayse Lee Maass
Keyword(s):  
Human Trafficking ◽  
Maximum Flow ◽  
Time Model ◽  
The Road ◽  
Repair Operation ◽  
Multi Stage ◽  
New Interpretation ◽  
Problem Instances ◽  
The Impact

This paper presents a bi-level network interdiction model to increase the effectiveness of attempting to disrupt a human trafficking network under a resource constrained environment. To model the behavior of the trafficker, we present a new interpretation of the traditional maximum flow network problem in which the arc capacity parameter serves as a proxy for the trafficker's desirability to travel along segments of the network. The objective for the anti-human trafficking stakeholder is to invest resources in detection and intervention efforts throughout the network in a manner that minimizes the trafficker's expected maximum desirability of operating on the network. Interdictions are binary, and their effects are stochastic (i.e., there is a positive probability that a disruption attempt is unsuccessful). A multi-stage version of the model is presented, which incorporates the effect of interdictions becoming more or less successful over time. Model insights are presented using a case study of the road network in the Eastern Development Region of Nepal. Multiple problem instances are solved with a genetic algorithm that uses a pseudo-utility ratio for the repair operation. Observations regarding the impact of probabilistic interdiction success and the implications it has for optimal policies to disrupt a human trafficking network with limited resources are discussed.

An Evolving Model of the Use of Feature Films in Undergraduate and Graduate Business Curriculum: The Education Awakens

2018 ◽  
Vol 9 (7) ◽  
pp. 555-565
Author(s):  
Catherine Giunta ◽  
Keyword(s):  
Student Perceptions ◽  
Business Education ◽  
Business Students ◽  
Full Length ◽  
Business Curriculum ◽  
Feature Film ◽  
Feature Films ◽  
Evolving Model ◽  
Graduate Business Education

This paper/exploratory analysis presents an evolving model for enhancing the use of full-length, feature film as a tool in undergraduate and graduate business curriculum. This model includes processes for determination of student perceptions of the efficacy of the use of feature film to teach business, including marketing and human resources competencies. Therefore, this work considers student perceptions of the use of film in undergraduate and graduate business education and their final outcomes. Awareness of students' views of this tool can be valuable information during the design of business curriculum. To date, limited research has coupled the business students’ perceptions of film in business curriculum along with implementation of feature films in business pedagogy. Therefore, the evolution of a working model aims to contribute to the understanding of students' expectations when film is used in business curriculum. There is a dearth of literature that covers the use of popular, full-length films in Marketing and in MBA Human Resource courses. This paper helps to fill that gap.

Jacobo De Villaurrutia and the Audiencia of Guatemala, 1794-1804

1976 ◽  
Vol 32 (3) ◽  
pp. 402-417 ◽  
Author(s):  
Dewitt S. Chandler
Keyword(s):  
Eighteenth Century ◽  
Case Studies ◽  
Colonial Administration ◽  
Spanish Colonial ◽  
The Road ◽  
Independence Movement ◽  
Sweeping Generalization ◽  
The Status ◽  
The Subject ◽  
New Interpretation

Scholars are presently re-examining the status of creoles in Spanish colonial administration at the end of the eighteenth century. All historians accept that the Crown discriminated against Americans but the degree and effect of that prejudice is the subject of much current research. Most have rejected Bolívar's sweeping generalization that Spain excluded Americans from all responsible positions, but few agree on the extent of creole participation. Recent studies suggest that creoles held more high positions than had been suspected. These studies further suggest that a new interpretation of the effect of creoles on administration and the independence movement is overdue. The road to this synthesis must be paved with case studies of individuals.

scholarly journals LOCATING THE WALLACHIAN REVOLUTION OF 1848

2020 ◽  
pp. 1-20
Author(s):  
JAMES MORRIS
Keyword(s):  
Political Culture ◽  
Ottoman Empire ◽  
Meeting Point ◽  
The Road ◽  
European Model ◽  
New Interpretation ◽  
On The Road ◽  
Revolution Of 1848 ◽  
European Civilization ◽  
The Revolution

Abstract This article offers a new interpretation of the Wallachian revolution of 1848. It places the revolution in its imperial and European contexts and suggests that the course of the revolution cannot be understood without reference to these spheres. The predominantly agrarian principality faced different but commensurate problems to other European states that experienced revolution in 1848. Revolutionary leaders attempted to create a popular political culture in which all citizens, both urban and rural, could participate. This revolutionary community formed the basis of the government's attempts to enter into relations with its Ottoman suzerain and its Russian protector. Far from attempting to subvert the geopolitical order, this article argues that the Wallachians positioned themselves as loyal subjects of the sultan and saw their revolution as a meeting point between the Ottoman Empire and European civilization. The revolution was not a staging post on the road to Romanian unification, but a brief moment when it seemed possible to realize internal regeneration on a European model within an Ottoman imperial framework. But the Europe of 1848 was too unstable for the revolutionaries to succeed. The passing of this moment would lead some to lose faith in both the Ottoman Empire and Europe.

scholarly journals Seeing Double: The Process of Script Adaptation between Theatre and Film

2021 ◽  
Author(s):  
◽  
Gavin Rodney McGibbon
Keyword(s):  
Full Length ◽  
The Other ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Critical Component ◽  
Feature Film ◽  
Stage Adaptations ◽  
Significant Change ◽  
Film Scripts

<p>This thesis examines the adaptation of stage plays to cinema, and of films to theatre. The creative component of the thesis consists of my full-length play script Hamlet Dies At The End, and the script of its feature film adaptation (Song’s End), plus material from my film script Roy Jiminton and the script of its adaptation to theatre.  The critical component of this thesis examines seven stage-to-film adaptations and four film-to-stage adaptations, in order to illustrate the distinctions between writing for the two different mediums and to suggest principles to aid scriptwriters in adapting material between theatre and film.  The thesis concludes with discussion of the decisions I made when adapting my own scripts.  This thesis argues that to successfully adapt play or film scripts from one medium to the other, the adaptor must be willing to incorporate significant change in order to effectively ‘adapt’. Adaptations that merely transpose from the stage onto the screen, or vice versa, fail to engage with their new medium.  This thesis also proposes a set of adaptation principles for script adaptors.</p>

scholarly journals Seeing Double: The Process of Script Adaptation between Theatre and Film

2021 ◽  
Author(s):  
◽  
Gavin Rodney McGibbon
Keyword(s):  
Full Length ◽  
The Other ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Critical Component ◽  
Feature Film ◽  
Stage Adaptations ◽  
Significant Change ◽  
Film Scripts

<p>This thesis examines the adaptation of stage plays to cinema, and of films to theatre. The creative component of the thesis consists of my full-length play script Hamlet Dies At The End, and the script of its feature film adaptation (Song’s End), plus material from my film script Roy Jiminton and the script of its adaptation to theatre.  The critical component of this thesis examines seven stage-to-film adaptations and four film-to-stage adaptations, in order to illustrate the distinctions between writing for the two different mediums and to suggest principles to aid scriptwriters in adapting material between theatre and film.  The thesis concludes with discussion of the decisions I made when adapting my own scripts.  This thesis argues that to successfully adapt play or film scripts from one medium to the other, the adaptor must be willing to incorporate significant change in order to effectively ‘adapt’. Adaptations that merely transpose from the stage onto the screen, or vice versa, fail to engage with their new medium.  This thesis also proposes a set of adaptation principles for script adaptors.</p>

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