Audience and Aetonormativity in Picturebook to Film Adaptations

2020 ◽  
pp. 87-112
Keyword(s):  
Film Adaptations

Rescoring Anything Goes in 1930s Hollywood

2019 ◽  
pp. 611-633
Author(s):  
Allison Robbins
Keyword(s):  
Department Head ◽  
Film Adaptations ◽  
Production Environment ◽  
Commercial Music ◽  
Music Department

This chapter concludes the volume with a study of Hollywood’s commercial approach to making musicals. Focusing on the 1936 movie adaptation of Anything Goes, the chapter looks at its production environment, one in which interpolations were common, song sales mattered more than wit, and risqué content was frowned upon, a combination that proved deadly for Porter’s score. Although some of Porter’s songs were retained, the studio’s music department head Nathaniel Finston assigned Leo Robin, Richard Whiting, and several others to write some new numbers for the film. In the context of a Hollywood in which studios capitalized on purchasing publishing companies and then copyrighting new songs by (usually, staff) Hollywood songwriters to in-house publishing firms, it is unsurprising for the chapter to conclude that faithful film adaptations are unlikely. Hollywood was devoted to commercial music while Broadway was divorced from it; and fidelity to Broadway’s canonized songwriters ran contrary to the commercial goals of Hollywood’s tunesmiths. Such tensions run throughout this book and help to explain the culture behind the unsettling but fascinating phenomenon of the stage-to-screen musical adaptation.

Cervantes on Screen

2021 ◽  
pp. 599-624
Author(s):  
Duncan Wheeler
Keyword(s):  
William Shakespeare ◽  
Film Adaptations ◽  
Miguel De Cervantes ◽  
Relative Lack ◽  
Hundredth Anniversary ◽  
National Heritage ◽  
At Home

April 2016 marked the four-hundredth anniversary of the deaths of both Miguel de Cervantes and William Shakespeare, with a noticeable lack of attention paid to the former in relation to the latter, even in Spain. A relative lack of film adaptations of Cervantes’s works has been construed as a symptom and cause of the Spaniard’s lack of visibility at home and abroad. This chapter probes this assertion and explores the dialectic between commemorative culture and Spanish screen fictions based on the life and works of Cervantes. Included are discussions of Francoist appropriations of the symbolism of Cervantes in Spanish national heritage, and the attempts to reappropriate those same images in the democratic era through film.

Rewriting Ibsen for the big screen

2021 ◽  
Vol 11 (2) ◽  
pp. 177-193 ◽  
Author(s):  
Audun Engelstad
Keyword(s):  
Silent Film ◽  
Film Adaptations ◽  
Henrik Ibsen ◽  
Hollywood Cinema ◽  
Contemporary Cinema ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

Henrik Ibsen is regarded as the champion of realist theatre. In the early days of cinema, there were several silent film adaptations of Ibsen’s plays. One would think, given his standing as a playwright, that there would be a continuous interest in Ibsen’s work after the conversion to sound. This article examines how the realist theatre – heralded by Ibsen – relates to classical (Hollywood) cinema and how Ibsen in various ways has been rewritten and has recently re-emerged within contemporary cinema.

scholarly journals Selling Marvel’s Cinematic Superheroes Through Militarization

2016 ◽  
Vol 8 (2) ◽  
pp. 23-35
Author(s):  
Brett Pardy
Keyword(s):  
Character Traits ◽  
Film Adaptations ◽  
General Character ◽  
Adaptation Process ◽  
Popular Film ◽  
Mass Market ◽  
The Public ◽  
Discursive Formation ◽  
Cultural Texts ◽  
The Military

The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2011), and demonstrate the significant reorientation towards the military of the film franchise. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful. I argue that superheroes are malleable icons, known largely by the public by their image and perhaps general character traits rather than their narratives. Militainment is introduced through a discourse of realism provided by Marvel Studios as an indicator that the property is not just for children. Keywords: militarization, popular film, comic books, adaptation

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 Reading (in) the Antipodes: New Zealand and Pacific Literatures in Spanish Translation

2015 ◽  
Author(s):  
Paloma Fresno-Calleja
Keyword(s):  
New Zealand ◽  
Film Adaptations ◽  
Spanish Translation ◽  
Literary Prizes

This article considers the Spanish translations of New Zealand and Pacific authors and explores the circumstances that have determined their arrival into the Spanish market as well as the different editorial and marketing choices employed to present these works to a Spanish readership. It considers the scarcity of canonical authors, the branding of Maori and other “ethnic” voices, the influence of film adaptations and literary prizes in the translation market, and the construction of the “New Zealand exotic” in works written by non-New Zealand authors which, in the absence of more translations from Spain’s literary Antipodes, have dominated the Spanish market in recent years.

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