scholarly journals HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA

2018 ◽  
pp. 38-53
Author(s):  
P. Rybina
Keyword(s):  
Film Noir ◽  
Film Adaptations ◽  
American Film ◽  
Adaptation Studies ◽  
Independent Cinema ◽  
Visual Imagination ◽  
Virtual Realities ◽  
Contemporary Film ◽  
Reflective Narrative

The article focuses on the priorities in contemporary studies of cinematic adaptations. Looking at the various appropriations of this Shakespeare’s tragedy in art and indie movies, the researcher reveals how by underscoring the director’s visual imagination and the ‘power’ of a cinematic tradition one can revise the scope of adaptation studies. Concentrating on the signature elements of A. Kaurismäki’s and M. Almereyda’s cinematography, the author emphasizes the productivity of the audience’s ‘entrancement’ with the visual and sonic interpretation of the classical piece (through the use of the American film noir stylistics by Kaurismäki, and through Almereyda’s interplay of multiple on-screen realities). In the viewers’ memory, literary meanings are expelled rather aggressively by new cinematographic ones. Kaurismäki turns the tragedy into a tastefully stylized noir whodunit, while Almereyda went for a reflective narrative about neo-Hamletism at an age of expanding virtual realities. In her demonstration of how the directors achieved such effects, the author argues the priority of the cinematographic auteurship (including the case of collective auteurship) in the analysis of contemporary film adaptations.

Film (Adaptation) as Translation

Target ◽  
1992 ◽  
Vol 4 (1) ◽  
pp. 53-70 ◽  
Author(s):  
Patrick Cattrysse
Keyword(s):  
Experimental Analysis ◽  
Film Noir ◽  
Film Adaptation ◽  
Film Adaptations ◽  
American Film ◽  
Theoretical Foundations ◽  
Made In

Abstract This paper proposes an application of some particular theories, known as the 'polysystem' theories of translation, to the study of film adaptation. A preliminary and experimental analysis of a series of film adaptations made in the American film noir of the 1940s and 1950s shows that this approach provides the basis for a systematic and coherent method with theoretical foundations, and that it permits the study of aspects of film adaptation which have been neglected or ignored so far.

The Ecologies of Film Noir

2018 ◽  
Author(s):  
Jennifer Fay
Keyword(s):  
Film Noir ◽  
American Film ◽  
Consumer Capitalism ◽  
Human Happiness ◽  
Rental Property ◽  
The Individual ◽  
Artificial World

Postwar American film noir explores an artificial world that does not foster human happiness and growth, but leads to a kind of human incapacity to act and respond. Beyond merely depicting these negative environments, noir lays bare the attachments to bad living and unsustainable striving that underwrite the accumulating culture of the Anthropocene at midcentury. Positioning itself as the genre that critiques postwar peaceful prosperity, noir gives us the characters, places, and scripts for human expiration as the counter to both nuclear survivalism and consumer capitalism. The hospitality of film noir is rental property. Indeed, impermanent dwelling of the individual and humanity as a whole is one of noir’s lessons for the Anthropocene. American noir is an ecological genre that teaches us in the spirit of Roy Scranton’s book how “to die in the Anthropocene.”

scholarly journals The Hybridization Of The Noir Genre As Expression Of Ethnic Heritage: Rafael Navarro’s Sonambulo

2021 ◽  
pp. 137-161
Author(s):  
Anna Marta Marini
Keyword(s):  
Popular Culture ◽  
Mexican American ◽  
Comic Book ◽  
Film Noir ◽  
Border Crossing ◽  
American Film ◽  
Diverse Range ◽  
Book Series ◽  
Film Genres ◽  
Fundamental Reference

In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar ambiance. Drawing heavily on a diverse range of film genres, as well as ethnocultural pivots, this comic book series carves out a definite space in the panorama of the Mexican American production of popular culture, adding a powerful voice to the expression of US ethnic minorities.

Femme fatale

2017 ◽  
Author(s):  
Felicity Chaplin
Keyword(s):  
Nineteenth Century ◽  
Film Noir ◽  
Cultural Tradition ◽  
American Film ◽  
Femme Fatale ◽  
French Version ◽  
Female Protagonists ◽  
French Film ◽  
French Culture ◽  
The City

The association of woman with Paris and death was a popular trope in nineteenth-century French culture and finds expression in cinematic representations of the Parisienne as femme fatale. This chapter considers la Parisienne as femme fatale in Jules Dassin’s Du rififi chez les hommes (1955), Marcel Carné’s Le jour se lève(1939) and Le quai des brumes(1938), and Jean-Luc Godard’s A bout de souffle (1960). These films can be considered examples of French film noir and their female protagonists read as femme fatales. However, the femme fatale of French film noir is different from the femme fatale of American film noir; she comes from a different cultural tradition and is informed by a different cultural figure. This chapter argues that the development of the femme fatale as a cinematicarchetype passed through a cultural tradition not usually associated with the noir genre: nineteenth-century French culture and the tradition of the filles d’Eve embodied in the type la Parisienne. The French version of this archetype grew out of the popular nineteenth-century trope of the association of woman with the city and death. Indeed, there is an aesthetic and narrative overdetermination of the femme fatale by the figure of la Parisienne, particularly through iconographical motifs associated with the type, like fashion, ambiguity, sexuality and danger

3. Censorship and politics in Hollywood noir

2019 ◽  
pp. 48-64
Author(s):  
James Naremore
Keyword(s):  
American History ◽  
Film Noir ◽  
American Film ◽  
Production Code ◽  
Standard Report ◽  
The Impact

During the period when American film noir was at its zenith, Hollywood’s self-appointed censorship agency, the Production Code Administration (PCA), exercised control over the movie studios. The PCA’s standard report form of the 1940s was manifestly puritanical and ideological. ‘Censorship and politics in Hollywood noir’ explains the strategies used to get past the strict censorship rules and considers the impact of political censorship, especially the concern with communism, and the general culture’s treatment of women and minorities on Hollywood noir through the 1940s and 1950s, a period of time that saw probably the most regulated, censored, and morally scrutinized pictures of the kind in American history.

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