: Perspectives on Pornography: Sexuality in Film and Literature . Gary Day, Clive Bloom.

1989 ◽  
Vol 42 (4) ◽  
pp. 57-58
Author(s):  
Linda Williams
Keyword(s):  
2021 ◽  
pp. 097492762098395
Author(s):  
Priyanjali Sen

During the 1930s, one of the significant factors that strengthened the connection between Bengali literature and film was the emergence of certain key figures who straddled overlapping roles as author–screenwriter–director, frequently adapting their own literary works and reframing the contentious ‘authorship issue’ that arises between writer and filmmaker. By focusing on three such figures—Premankur Atorthy (1890–1964), Sailajananda Mukhopadhyay (1901–1976) and Premendra Mitra (1904–1988)—this essay examines the manner in which self-adaptations served to transfer the power of the literary author to the nascent cinematic auteur, particularly through the intermediary process of screenwriting. The essay also draws attention to the practice of film novelisations that was mobilised since the mid-1940s by Mitra and others like Jyotirmoy Roy and Panchugopal Mukhopadhyay, where novels were written based on cinematic works, akin to French cinéromans and contrary to ‘authorless’ novelisations by ghostwriters. In subsequent years, film novels were written by director Hemen Gupta, writers Tarashankar Bandopadhyay, Shaktipada Rajguru and Kalkut, which brings to light a largely unexplored dimension of the relationship between Bengali film and literature.


SubStance ◽  
1998 ◽  
Vol 27 (2) ◽  
pp. 142
Author(s):  
Marie-Paule Ha ◽  
Panivong Norindr

Italica ◽  
1990 ◽  
Vol 67 (3) ◽  
pp. 419
Author(s):  
Millicent Marcus ◽  
John P. Welle
Keyword(s):  

2021 ◽  
pp. 291-302
Author(s):  
Izabella Kimak ◽  
Zbigniew Mazur

In this article we look at three recent films–Native Son (2019, dir. Rashid Johnson, based on Richard Wright’s 1940 novel), Widows (2018, dir. Steve McQueen, based on a 1983 TV series), and The Hate U Give (2018, dir. George Tillman Jr., based on a book by Angie Thomas)–by Black directors that showcase the interactions between Blacks and whites in an American urban milieu. We argue that the setting of two of these films–Native Son and Widows–in Chicago, with The Hate U Give being set in a fictional urban setting bearing a strong resemblance to the Windy City, serves to articulate the continuing racial divisions of American cities in the twenty-first century. The three films show that the fossilization of the divide between Black and white districts inevitably leads to outbreaks of racial violence.


Author(s):  
Sarah V. Platt

Resumen El periodismo collage desarrollado por Ryszard Kapuściński se ha tornado controversial por su difícil clasificación de género y por combinar distintas técnicas y enfoques pertenecientes a varias disciplinas. En este artículo se analizará la influencia de los principales trozos interdisciplinarios que componen la totalidad de la obra de este autor: la fotografía y la poesía, las ciencias sociales, la politología, el cine y la literatura. Como marco teórico se empleará la fenomenología y se expondrán algunos ejemplos de sus obras cumbres para mostrar cómo se ponen en práctica las técnicas interdisciplinarias del collage. La obra kapuścińskiana, a pesar de ser completamente heterogénea en cuanto a su estructura, comparte una esencia en común: retrata la realidad sociopolítica de algunos de los acontecimientos más relevantes del siglo XX, a la vez que proyecta un recuento muy íntimo de las experiencias del autor en el campo. La responsabilidad epistémica del autor para con sus sujetos de trabajo está siempre presente, dando espacio a sus lectores a juzgar por ellos mismos la credibilidad de su postura y de sus historias. Palabras clavePeriodismo literario;  Ryszard Kapuściński; interdisciplinariedad; collageAbstract Ryszard Kapuściński´s collage journalism has become a controversial topic because of its hard to define genre and because it combines different techniques and approaches that pertain to various disciplines. In this article we will analyze the principal interdisciplinary influences in the author´s work: photography and poetry, social sciences, political science, film, and literature. In order to attest how the visual collage journalism techniques are put into practice, some examples from the author’s main books will be brought to light. Although Kapuściński’s work’s structure is heterogeneous, a common essence is observed: the vivid depiction of some of the most significant events of the 20th century through the author´s intimate experiences in the field. Moreover, Kapuściński´s epistemic responsibility with his work subjects is ever-present, providing space for his readers to judge his credibility for themselves. KeywordsLiterary journalism; Ryszard Kapuściński; interdisciplinary; collage


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