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 THE PHENOMENON OF DISRUPTED COMMUNICATION IN THE NOVEL “EFFI BRIEST” BY THEODOR FONTANE AND IN THE FILM ADAPTATION BY RAINER WERNER FASSBINDER: SPEECH AND GESTURE

2021 ◽  
Vol 6 (3) ◽  
pp. 49-72
Author(s):  
Александра Владимировна Елисеева
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Close Reading ◽  
Theodor Fontane ◽  
The Novel ◽  
Hierarchical Relationship ◽  
The Subject ◽  
Effi Briest

The subject of this article’s comparative intermedial analysis is the phenomenon of disrupted communication in the novel by the German writer Theodor Fontane “Effi Briest” (1895) and in the film adaptation of this work by Rainer Werner Fassbinder “Fontane Effi Briest” (1974). The article consists of five parts: 1) introduction; 2) analysis of dialogues in Fontane’s novel; 3) description of the means of creating the effect of disrupted communication in Fassbinder’s film; 4) comparative analysis of some fragments of two works by the method of close reading; 5) conclusions. Methodologically, the research is based on the achievements of the theory of communication, carpalistics, comparative and intermedial approaches to the study of film adaptations. The main point of the article is that the effect of disrupted communication, which is observed in numerous dialogues of Fontane’s novel, is also created by visual means in Fassbinder’s film, among which a significant place is occupied by a gesture. The gesture of turning away deserves special attention: the characters of the film turn away from each other, turn their backs to the interlocutor and the viewer, turn to their reflection. The unconventionality and intensity of such gestures accentuate the problematic nature of communication between the characters. This structure, peripheral in Fontane’s work, becomes central in the film of Fassbinder, grasping the viewers’ attention. In this regard, the article adds to a traditional discussion about the hierarchical relationship between a literary text and its film adaptation.

May Fourth and Postwar Hong Kong’s Leftist Cantonese Cinema

2019 ◽  
pp. 75-101
Author(s):  
Jing Jing Chang
Keyword(s):  
Hong Kong ◽  
Golden Age ◽  
Film Adaptations ◽  
Close Reading ◽  
May Fourth Movement ◽  
Fourth Movement ◽  
Ba Jin ◽  
May Fourth ◽  
Film Productions ◽  
The May Fourth Movement

Chapter 3 examines the legacy of the May Fourth Movement in the context of postwar Hong Kong’s golden age of cinema. It argues that the May Fourth project was an unfinished one and was carried forward by progressive Cantonese filmmakers who were the torchbearers of its ideology. This chapter focuses on the careers of left-leaning filmmakers such as Ng Cho-fan, one of the founders of the Union Film Enterprise Ltd., and their emergence as postwar Hong Kong’s new cultural elites. Through a close reading of Union’s film adaptations of the Ba Jin trilogy, Family (Jia, dir. Ng Wu, 1953), Spring (Chun, dir. Lee Sun-fung, 1953), and Autumn (Qiu, dir. Chun Kim, 1954), this chapter demonstrates the transformative nature of the moral message of postwar Hong Kong’s cultural elites. Not only did left-leaning film talent repurpose core tenets of May Fourth, they also sought to reinterpret the spirit of vernacular modernism for the colony’s audiences through their film productions. Although May Fourth precepts were brought to Hong Kong by China’s nanlai cultural elites and leftwing film talents, the May Fourth spirit underwent a creative translingual appropriation during the 1950s as local Hong Kong leftwing companies such as the Union and Xinlian emerged.

Have yourself a merry little Christmas? Organizing Christmas in women’s magazines past and present

Organization ◽  
2011 ◽  
Vol 18 (6) ◽  
pp. 747-762 ◽  
Author(s):  
Joanna Brewis ◽  
Samantha Warren
Keyword(s):  
Women's Magazines ◽  
Close Reading ◽  
Gift Giving ◽  
Analytical Strategy ◽  
Cultural Texts ◽  
Women's Role

This article investigates the organization of Christmas in 15 women’s magazines from the 1930s and 2009, using an analytical strategy of close reading to explore the discursive imperatives these texts seem to (re)create around female ‘festive labour’. We arrive at two conclusions: (1) a critique of popular perceptions of the ‘problem of gift giving’ as a contemporary phenomenon; and (2) a shift from the ‘domestic goddess’ discourse of the 1930s to a construction of women’s role in performing Christmas that rests on a somewhat contradictory rendering of managerialism. Our rather pessimistic endpoint is that the pressure on women to pull off the perfect Christmas has intensified—at least in these popular cultural texts—over the last 70-plus years, but at the same time there is a sense here that even the most intensive endeavours are doomed never to entirely succeed.

Mapping Transformations

2018 ◽  
Vol 23 (1) ◽  
pp. 219-238
Author(s):  
Rebecca A. Longtin ◽  
Keyword(s):  
Structure Function ◽  
Visual Language ◽  
Close Reading ◽  
Language And Thought ◽  
Archaeological Method ◽  
Ways Of Thinking

Scholars have thoroughly discussed the visual aspects of Foucault’s archaeological and genealogical methods, as well as his own emphasis on how sight functions and what contexts and conditions shape how we see and what we can see. Yet while some of the images and visual devices he uses are frequently discussed, like Las Meninas and the panopticon, his diagrams in The Order of Things have received little attention. Why does Foucault diagram historical ways of thinking? What are we supposed to see and understand through these diagrams? To examine the role of the diagram in Foucault’s archaeological method, this paper provides a close reading of how the classical quadrilateral visualizes the structure, function, content, principles, and underlying assumptions of language and thought. In analyzing the diagram as a way for visualizing history, this paper demonstrates how Foucault enacts a new visual language that emphasizes the contingency of thought.

scholarly journals Peter Howson and the Language of Salvation

2019 ◽  
Vol 23 (1-2) ◽  
pp. 76-99
Author(s):  
Caleb Froehlich
Keyword(s):  
Present Article ◽  
Belief System ◽  
Visual Language ◽  
Close Reading ◽  
Religious Art ◽  
Conversion Experience ◽  
Religious Paintings ◽  
The Grotesque

Abstract Since his conversion to Christianity in 2001, Peter Howson’s religious paintings have generally been met with critical incomprehension. A case in point was his 2012 exhibition Redemption, where reviewers suggested an irreconcilable incongruity between its grotesque imagery and redemption, the exhibition’s title. In response to this critical bewilderment, the present article argues for the appropriateness of the grotesque in Howson’s depictions of salvation by examining the significance of his conversion experience and providing a more sophisticated and developed analysis of the grotesque as his visual language. More specifically, it utilizes insights from an analysis of the content and practice of the artist’s belief system and a new taxonomy of the grotesque in a close reading of the Hades cycle, featured in Howson’s Redemption exhibition, in order to show how the artist communicates salvation through the grotesque. It is hoped that this article may serve as useful groundwork for other scholars engaging with Howson’s extraordinary religious art.

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.

Stolen from the Snows: John Kinsella as Poet and as Fiction Writer

CounterText ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 232-238
Author(s):  
Nicholas Birns
Keyword(s):  
Close Reading ◽  
Artistic Identity ◽  
Close Analysis ◽  
Fiction Writer

This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.

‘Nothing is simply one thing’: Woolf, Deleuze and Difference

2013 ◽  
Vol 7 (4) ◽  
pp. 456-474
Author(s):  
Beatrice Monaco
Keyword(s):  
Virginia Woolf ◽  
Prose Poetry ◽  
Close Reading ◽  
Similar Model ◽  
Complex Interplay ◽  
To The Lighthouse

This paper explores some key texts of Virginia Woolf in the context of Deleuzian concepts. Using a close reading style, it shows how the prose poetry in Mrs Dalloway engages a complex interplay of repetition and difference, resulting in a remarkably similar model of the three syntheses of time as Deleuze understands them. It subsequently explores Woolf's technical processes in a key passage from To the Lighthouse, showing how the prose-poetic technique systematically undoes the structures of logical fact and rationality inscribed in both language and everyday speech to an extremely precise level.

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