The Peculiarities of Showing the Image of the Main Character in German and Italian Film Adaptations of the Literary Works of F.M. Dostoevsky of the End of the 19th — the First Third of the 20th Centuries

2021 ◽  
pp. 256-266
Author(s):  
Mariya V. Mikhaylova ◽  
Keyword(s):  
Film Adaptations ◽  
Italian Cinema ◽  
Main Character ◽  
Silent Cinema ◽  
Literary Works ◽  
European Cinema ◽  
Italian Film

The peculiarities and variants of showing the image of the main character of the lliterary works of F.M. Dostoevsky in European cinema (on the example of German and Italian cinema) are investigated in the article. The specificity of the possibility of conveying the psychologism of the literary works and the peculiarities of the characters of the heroes in the era of silent cinema without dialogues are characterized. The main film adaptations of the literary works of F.M. Dostoevsky are compared in the article.

scholarly journals The Peculiarities of the Reception of the Literary Works of F.M. Dostoevsky in the European Cinematography of the 1 st Third of the XXth Century (on the Example of the German and Italian Cinematography)

2019 ◽  
Vol 6 (4) ◽  
pp. 24-31
Author(s):  
M.V. Mikhaylova
Keyword(s):  
Silent Cinema ◽  
Literary Works ◽  
Xxth Century ◽  
European Cinema ◽  
History Of

The article discusses the main features of the interpretation of the works of F.M. Dostoevsky in the German and Italian cinematography of the 1st third of the XXth century. The author explores the films of the era in question, based on the works of F.M. Dostoevsky, in the context of the history of the development of European cinema. The specification of the reception of the writer's literary works in the era of silent cinema is characterized, the ability to convey the psychologism of the literary works and the peculiarities of the characters of the heroes without dialogues is investigated.

scholarly journals The esteem needs in the main character of ‘Me Before You’ movie

2021 ◽  
Vol 8 (3) ◽  
pp. 1285-1298
Author(s):  
Diana Anggraeni ◽  
Herland Franley Manalu ◽  
Desty Anggraini
Keyword(s):  
Data Analysis ◽  
Self Esteem ◽  
Psychological Effects ◽  
Main Character ◽  
Descriptive Data ◽  
Literary Works ◽  
Human Needs ◽  
Different Types ◽  
The Status

Humans have gone through many incidents, both good and bad experiences, and sometimes these experiences are shared with others in the form of stories. The stories, as one of the forms of literary works, would be nothing without the created characters within them because they provide the viewers with a purpose and a reason for us to learn about what happens in the story. Besides, they act as one important element in the movie with various psychological effects. This research aims to analyze the characteristics and the hierarchy of human needs, especially esteem needs, that appear in the main character named Will Traynor in the ‘Me Before You’ movie directed by Thea Sharrock. This study uses descriptive data analysis which describes a phenomenon and the main character in the movie. The results revealed seven characters comprising the esteem needs hierarchy: sensitive, open-minded, friendly, kind, confident, humble, and stubborn. The esteem needs hierarchy is the desire to have the need to be approved, valued, and recognized to have some self-esteem. This is striking in the movie because of the status of the character, Will Traynor as a lord, and Louisa Clark who is only a maid and has no superiority over Will in her life. The findings imply the personality of humans differ in their characters and psychology as shown from the esteem needs hierarchy in Will’s personality expressing the different types of characteristics.

scholarly journals Austrian-Italian Encounters: Notes on Some Films Produced Between Rome and Vienna in the 1930s

2019 ◽  
Vol 5 (1) ◽  
pp. 55
Author(s):  
Francesco Bono
Keyword(s):  
19Th Century ◽  
The Political ◽  
Late 19Th Century ◽  
Cultural Traditions ◽  
European Cinema ◽  
History Of ◽  
Italian Film ◽  
Stylistic Influences ◽  
Corporate State ◽  
Shed Light

This essay deals with a number of Italian and Austrian films produced around the mid-1930s as a result of the cinematic cooperation that developed between Rome and Vienna at the time. The essay’s goal is to investigate a complex chapter in the history of Italian and Austrian film which has yet received little attention. The Austro-Italian cooperation in the field of film, which developed against the backdrop of the political alliance between Fascist Italy and Austria’s so-called Corporate State, involved some of the biggest names in Italian and Austrian cinema of the time, including Italian directors Carmine Gallone, Augusto Genina and Goffredo Alessandrini, Viennese screenwriter Walter Reisch, and Italian novelist Corrado Alvaro. In particular, the essay will consider the Italian film Casta Diva (1935) and its debt to one of the most famous Austrian productions of the 1930s, Willi Forst’s film Leise flehen meine Lieder (1933). Further films to be discussed include Tagebuch der Geliebten (1935), Una donna tra due mondi (1936), Opernring (1936), and Blumen aus Nizza (1936). Tagebuch der Geliebten was based on the diary of Russian painter Marie Bashkirtseff, who lived in Paris in the late 19th century. Una donna tra due mondi starred Italian diva Isa Miranda, Opernring Polish tenor Jan Kiepura, Blumen aus Nizza German singer Erna Sack.These films should be truly regarded as transnational productions, in which various cultural traditions and stylistic influences coalesced. By investigating them, this essay aims to shed light on a crucial period in the history of European cinema.

scholarly journals "La ventana indiscreta" de Alfred Hitchcock como Cineromanzo. La adaptación como transmedialización

2017 ◽  
pp. 110-124
Author(s):  
Jan Baetens ◽  
Domingo Sánchez-Mesa
Keyword(s):  
Women's Magazines ◽  
Visual Language ◽  
Film Adaptations ◽  
Close Reading ◽  
Creative Industry ◽  
Rear Window ◽  
Italian Film

A modo de expansión y aplicación del marco teórico y metodológico sobre inter- y transmedialidad propuesto por los autores en un artículo previo en Tropelías (n.27), este ensayo explora, tanto desde una perspectiva histórica como narratológica, el género del cine-foto-novela o cineromanzo, un tipo tremendamente popular, pero de escasa vida y ampliamente olvidado, de “cine narrado” o “cine impreso” de finales de los 50 y comienzos de los 60. Adoptando el lenguaje visual de la fotonovela así como las innumerables constricciones del contexto de publicación de revistas para mujeres de la época, el cineromanzo parece, a primera vista, un caso típico de lo que falla cuando las adaptaciones fílmicas se ven obligadaa a ser tan “fieles” como sea posible. En la práctica, sin embargo, el cine-foto-novela demostró ser capaz de generar diversas innovaciones. A través de un close-reading del cineromanzo de La ventana indiscreta, de Alfred Hitchcock (1954), se trata de demostrar esas capacidades creativas de una industria despreciada, al tiempo que se ilustra un proceso de transmedialización popular que precede al tiempo de las narrativas transmediales de última generación. Expanding on the theoretical and terminological framework on inter-  and transmediality proposed by the authors in a previous Tropelias contribution (n.27), this essay explores in a both historical and narratological perspective the genre of the film photo novel or cineromanzo, a widely popular, but short-lived nowadays largely forgotten case of “narrated cinema” or “cinema in print” of the late 1950s and early 1960s. Adopting the visual language of the photo novel as well as the countless constraints of the publication context of the women’s magazines of that day, the film photo novel seems at first sight a typical example of what goes wrong when film adaptations are obliged to be as “faithful” as possible. In practice however, the film photo novel proved capable of various innovations. This article offers a close-reading of the Italian film photo novel of Hitchcock’s Rear Window (1954), which demonstrates the creative possibilities of a despised creative industry while illustrating a popular transmedialization process which comes before the last generation transmedial narratives.

scholarly journals A PSYCHOLOGICAL ANALYSIS OF THE MAIN CHARACTER IN MARSIRAJI THAHIR’S KABAR BUNGA

Lire Journal ◽  
2019 ◽  
Vol 3 (2) ◽  
pp. 147-164
Author(s):  
M Afifulloh
Keyword(s):  
Psychological Aspects ◽  
The Novel ◽  
Main Character ◽  
Psychological Approach ◽  
Female Characters ◽  
Literary Works ◽  
Psychological Analysis ◽  
The Impact

This paper aims to describe the female characters in the novel Kabar Bunga by Marsiraji Thahir, the conflicts and its causes, and the impact of the conflicts experienced by women in the novel Kabar Bunga by Marsiraji Thahir. This novel is examined by a psychological approach in literature, a literary approach that emphasizes the psychological aspects of the types and laws of psychology that can be applied to literary works. The data is qualitative since the purpose of this research is to explain or describe the phenomena of the researches deeply. The data were obtained by categorizing all the related dialogues in the story, then psychologically analyzed. Triangulation was used to validate the data.  After finishing all the steps of analyzing data, the interpretations were made based on the data and the theory. The results of the research were, psychologically, the main character in this novel is described as a person who often feels worried, frightened, keeping the reality up, and she is burdened by the problems faced. This portrayal is the representation of Wulan as a woman and woman emotionally and mentally is depicted as a weakness persona without having the ability to solve the problems.

Benefits of Film Adaptations of Literary Works for English Language Learning

2021 ◽  
pp. 178-198
Author(s):  
Sunay Öztürk ◽  
Buğra Zengin
Keyword(s):  
High School ◽  
High School Students ◽  
Language Learning ◽  
English Language ◽  
Academic Research ◽  
Film Adaptations ◽  
Mixed Method Research ◽  
School Students ◽  
Literary Works ◽  
Film Scripts

Despite their potential in language learning, films have not been covered adequately in academic research except some attempts to develop strategies. One of these strategies has been to compare film scripts and their translations, to identify chunks, technical terms, and creative language examples and to list them with their translations, and to do creative dialogue writing activities especially by modeling these scripts where chunks are used extensively. Believing in the importance of evaluating the film scripts with their translations, this study aims to investigate the processes the researcher/teacher's high school students went through in learning and using the target language starting with the use of the film adaptations of the literary works, writing their scripts modeling the film scripts, acting their own scripts, and shooting their performances. The mixed method research design was used with the triangulation of the qualitative and quantitative data. The 68 high school students' views were investigated with Likert scale (1-5) questionnaire along with their comments about the items.

Avanti a lui tremava tutta Roma: opera, melodrama and the Resistance

Modern Italy ◽  
2012 ◽  
Vol 17 (2) ◽  
pp. 185-196 ◽  
Author(s):  
Catherine O'Rawe
Keyword(s):  
Historical Context ◽  
Film History ◽  
Second World War ◽  
Vocal Performance ◽  
Italian Cinema ◽  
World War ◽  
Full Picture ◽  
Italian Film ◽  
Post War ◽  
Second World

Italian neorealism is conventionally read as the authoritative cinematic chronicle of Italy's experience of the Second World War and the Resistance, through canonical films such as Rossellini'sRoma città aperta(Rome, Open City, 1945). It is important, however, to restore a full picture of the array of genres which narrated and refracted the Resistance experience in the post-war period. To this end, this article looks at a key genre that has been overlooked by scholarship, the opera film ormelodramma. In examiningAvanti a lui tremava tutta Roma(Before Him All Rome Trembled, Gallone, 1946), the article considers Mary Wood's contention (inItalian cinema. Oxford: Berg, 2005, 109) that in this period ‘realist cinematic conventions were insufficient for the maximum perception of the historical context’, and that the ‘affective charge’ of melodrama was essential for restoring this complexity. It assesses the appeal to the emotions produced by the film, and the ways in which this is constructed through the bodily and vocal performance of the operadivo, and questions the critical division between emotion (always viewed as excessive) and authenticity (seen in neorealism, the mode of seriousness) which has seen the opera film relegated to the margins of post-war Italian film history.

scholarly journals Estetika Pada Novel Geni Jora Karya Abidah El Khalieqy

ATAVISME ◽  
2014 ◽  
Vol 17 (2) ◽  
pp. 134-147
Author(s):  
Sugiarti Sugiarti
Keyword(s):  
Key Words ◽  
The Other ◽  
Main Character ◽  
Binary Opposition ◽  
Literary Works ◽  
Strong Energy ◽  
Aesthetic Sense ◽  
Common Problems ◽  
Power Of Language

The main purpose of this study is to explicate the aesthetics portrayed in Geni Jora novel by Abidah El Khalieqy, published by Qanita Bandung in 2009. Regarding the aesthetics approach, the author believes that this novel has presented a salient contribution to producing more creative literary works. Comprehensive dictions are carefully selected and tightened with strong aesthetic sense in representing particular moments from this novel in order to demonstrate the power of language as a strong energy in expressing any incident. Aesthetic conflicts, as a part of postmodern aesthetics, mostly appear in any scene of this novel as Abidah El Khalieqy tried to explore the most common problems women face against restrictions of binary opposition in society. Postmodern aesthetics is definitely characterized by the main character that makes this novel has its power to convey the other sides of a woman’s life. Key Words: aesthetics; language energy; aesthetics conflict Abstrak: Penelitian ini bertujuan mengungkap dan mendeskripsikan estetika dalam novel Geni Jora karya Abidah El Khalieqy dengan pendekatan estetika. Estetika berperan penting bagi pengarang dalam proses kreatif penciptaan karya sastra. Sumber data penelitian ini adalah novel Geni Jora karya Abidah El Khalieqy yang diterbitkan penerbit Qanita Bandung tahun 2009. Penelitian ini menunjukkan bahwa pemanfaatan bahasa sebagai energi untuk mengungkapkan peristiwa dalam novel Geni Jora karya Abidah El Khalieqy tampak melalui pilihan kata (diksi) yang mampu mewakili suasana tertentu sehingga menjadikan peristiwa tersebut menyatu dan memberikan pemaknaan estetik yang cukup kuat. Adapun bentuk estetika posmodern yang digunakan dalam novel Geni Jora karya Abidah El Khalieqy berupa estetika pertentangan karena di dalamnya mengungkapkan bagaimana sesungguhnya persoalan-persoalan perempuan dikonstruksi secara sosial, dibentuk dan disimplikasi dalam cerita dengan mematahkan sebagian oposisi biner yang selama ini terjadi dalam masyararakat. Estetika posmodern yang diungkapkan melalui tokoh utama membuat novel ini memiliki kekuatan tersendiri untuk menyampaikan sisi lain kehidupan perempuan.

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