scholarly journals The Action of Grace in Territory Held by the Devil: Flannery O’Connor and Cormac McCarthy

2012 ◽  
Vol 2 (1) ◽  
Author(s):  
Scott Singleton ◽  
Keyword(s):  
Visual Presentation ◽  
Cormac Mccarthy ◽  
Film Adaptation ◽  
Flannery O'connor ◽  
The Novel ◽  
Central Idea ◽  
Biographical Information ◽  
Divine Grace ◽  
Old Men ◽  
The Devil

This paper compares the lives and work of Flannery O’Connor and Cormac McCarthy. The two authors share similarities in their backgrounds, careers, and work. The paper begins with an examination of biographical information of both authors to contextualize their work and note commonalities in their lives and careers. The central idea is that Flannery O’Connor and Cormac McCarthy both create grotesque characters to reveal the depraved condition of humanity in order to highlight the need for redemption and the possibility of divine grace. To prove this, examples are discussed from multiple pieces of work by O’Connor and McCarthy including The Misfit, from O’Connor’s “A Good Man Is Hard to Find,” and Anton Chigurh, from McCarthy’s No Country for Old Men. Following this is a review of the visual presentation of No Country for Old Men through the Coen brothers’ film adaptation of the novel.

DRAMATIC ELEMENTS IN DASHNER’S MAZE RUNNER NOVEL AND FILM ADAPTATION

2020 ◽  
Vol 2 (2) ◽  
pp. 80-88
Author(s):  
Anggia Putria ◽  
Muizzu Nurhadi
Keyword(s):  
Qualitative Method ◽  
Film Adaptation ◽  
The Novel ◽  
Descriptive Qualitative

The research aims to reveal how the application of dramatic elements of Dashner’s Maze Runner is transformed into its film adaptation. To achieve the purpose, the researcher analyzes seven dramatic elements by Gustav Freytag’s Pyramid which consist of exposition, inciting moment, rising action, climax, falling action, resolution, and denouement. This research uses the descriptive qualitative method. The results of this research are the differences of the dramatic elements in the novel and film adaptation are not significant because only the scenes of exposition and rising action are not similar.

Materializing Ulysses

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Twentieth Century ◽  
Film Adaptation ◽  
The Novel ◽  
Perceived Power

This chapter compares the reception of Joyce’s 1922 Ulysses with that of Joseph Strick’s 1967 film adaptation of the novel. Although Ulysses had been legally publishable in England for decades, Strick’s film still encountered censorship from the British Board of Film Censors. The chapter argues that Joyce’s novel, for all its obscenity and provocation, mitigated its threat by foregrounding its own printedness, allying its fate to the waning power of print as a bearer of obscenity. Strick’s film, by contrast, activated the perceived power of film. The contrast of the two versions of Ulysses, which are often identical in language, thus offers a valuable window on how obscenity changed across media through the twentieth century. In making this argument, the chapter surveys print strategies of censorship, including the asterisk, and how these strategies operated in a range of works.

‘Their Voices Ring in My Ears’: Laura, the Fugue, and Adaptation

Adaptation ◽  
2020 ◽  
Author(s):  
Margaret A Toth ◽  
Teresa Ramoni
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Adaptation Studies

Abstract This essay analyzes Vera Caspary’s novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a ‘subject’ or short melodic phrase and its various ‘answers’—in other words, variations that maintain elements of the melody but also play with and revise it—how might we position the film as a variation on, rather than a reproduction of, Caspary’s novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn’t want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film—not simply the dialogue but also the voiceover narration and David Raksin’s groundbreaking score—allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances that get lost in a strict fidelity approach; in particular, we can identify both works’ feminist content, especially their attempts to decentre patriarchal hard-boiled conventions and to confound notions of a singular truth.

scholarly journals El sueño en la penúltima escena en la película No country for old men de los Hermanos Coen y una interpretación del poema Sailing to Byzantium de William Butler Yeats

2020 ◽  
pp. 157-171
Author(s):  
Corina Benalcázar Pijal
Keyword(s):  
William Butler Yeats ◽  
Cormac Mccarthy ◽  
Old Men

La presente investigación propone una lectura de la penúltima escena de la película: No country for old men (No es país para viejos) (2007) de los hermanos Joel y Ethan Coen. El filme es una adaptación de la novela homónima de Cormac McCarthy (2005), y ésta, a su vez, es una interpretación del poema Sailing to Byzantium de William Butler Yeats (1928). Si bien el resultado cinematográfico guarda una relación directa con la novela, también lo hace con el poema, pero no de manera evidente. De modo que el presente texto analiza tanto la penúltima escena de la película como el poema, para platear una relación entre ellos. 

scholarly journals Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda

2019 ◽  
Author(s):  
Patrycja Rojek
Keyword(s):  
Complex System ◽  
Significant Part ◽  
Film Adaptation ◽  
Literary Fiction ◽  
The Novel ◽  
Moving Images ◽  
Communication Situations ◽  
Female Protagonist ◽  
The Subject ◽  
Insight Into

Rojek Patrycja, Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda [Aesthetic Concretization in Tom Ford’s Nocturnal Animals (2016)]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 401–416. ISSN 1644-6763. DOI 10.14746/pt.2019.32.22. The subject of Austin Wright’s novel Tony and Susan (published in 1993) is the reader’s experience. The peculiar relationship that forms between the main female character - a reader of literary fiction – and the novel itself as well as its author, inspired in 2016 Tom Ford to capture the specifics of the same relationships using the language of moving images. This article presents the effects of studying the complex system of communication situations occurring in the novel and its film adaptation: each of them contains an additional story around which further author-reader relationships are formed. The analysis shows that a significant part of the film’s plot is not a direct insight into the novel, but its concretization projected by a female protagonist. Tom Ford’s film is therefore considered in relation to Roman Ingarden’s theory on aesthetic concretization.

scholarly journals A Tradução Intersemiótica na construção da personagem Holly Golithly em Breakfast at Tiffany’s: entre o romance e o cinema

2018 ◽  
Vol 1 (44) ◽  
pp. 246-259
Author(s):  
Sinara De Oliveira Branco ◽  
Mariana Assis Maciel
Keyword(s):  
Image Analysis ◽  
Theoretical Framework ◽  
Film Adaptation ◽  
The Novel ◽  
Multimodal Corpus ◽  
The Relationship

The purpose of this text is to analyze the intersemiotic construction of Holly Golithly in two contexts: the novel and the film Breakfast at Tiffany's (1961). Along the film adaptation, the focus will be on the observation of how people and places influence her behaviour, taking into consideration the relationship between the imagetic and the verbal contexts (word-image relationship). The theoretical framework used is based on the Theory of Adaptation; the Intersemiotic Translation; Subtitling; Image Analysis and Film Narrative. The multimodal corpus compiled involves the selected scenes from the film, offering frames and subtitles, as well as excerpts from the novel. Results have shown how the character has changed in the film adaptation regarding her construction in the film narrative. With the application of intersemiotic translation, it was possible to observe how the analysis of the scenes and subtitles help with the construction and the interpretation of the character.

Ghost Meat

2021 ◽  
Vol 59 (2) ◽  
pp. 66-80
Author(s):  
Catherine Belling
Keyword(s):  
Real World ◽  
Historical Trauma ◽  
The Novel ◽  
Linear Topology ◽  
The Real ◽  
Ethical Implications ◽  
The Past ◽  
Fictional Representations ◽  
The Devil

Abstract The ambivalent attraction of feeling horror might explain some paradoxes regarding the consumption of representations of atrocities committed in the real world, in the past, on actual other people. How do horror fictions work in the transmission or exploitation of historical trauma? How might they function as prosthetic memories, at once disturbing and informative to readers who might otherwise not be exposed to those histories at all? What are the ethical implications of horror elicited by fictional representations of historical suffering? This article engages these questions through the reading of Mo Hayder’s 2004 novel The Devil of Nanking. Hayder exploits horror’s appeal and also—by foregrounding the acts of representation, reading, and spectatorship that generate this response—opens that process to critique. The novel may productively be understood as a work of posttraumatic fiction, both containing and exposing the concentric layers of our representational engagement with records of past atrocity. Through such a reading, a spherical rather than linear topology emerges for history itself, a structure of haunted and embodied consumption.

Michael Winterbottom’s The Claim (2000) as a transnational and transcultural adaptation of The Mayor of Casterbridge

2021 ◽  
Vol 14 (2) ◽  
pp. 195-207 ◽  
Author(s):  
Margarida Esteves Pereira
Keyword(s):  
Thomas Hardy ◽  
Film Adaptation ◽  
Cultural Dimension ◽  
Clear Understanding ◽  
The Novel ◽  
Community Construction ◽  
Transcultural Adaptation ◽  
Film Productions ◽  
And Migration ◽  
Transnational Film

In this article, we will be focusing on issues of transnational and transcultural film adaptation using as a case study a particular screen adaptation of the novel The Mayor of Casterbridge by Thomas Hardy entitled The Claim (Michael Winterbottom 2000). The article aims to analyse the film in relation to these issues, taking into account notions of transcultural adaptation and transnational film productions, as well as mobility and migration in the context of a nineteenth-century film text. It is not only a text that relocates Hardy’s narrative into a new geographical/cultural dimension, but also it is itself a transnational production. Moreover, in the case of The Claim, there seems to be a clear understanding of processes of intercultural community construction that are particularly productive to look at. The article establishes a link between the particular transcultural perspective raised in this film and Michael Winterbottom’s oeuvre, taking also into account other adaptations of Hardy’s novels by the same director and the Western genre that underlies this film production.

Divine Paraphrase: Cormac McCarthy

2017 ◽  
pp. 40-59
Author(s):  
Brian Willems
Keyword(s):  
Cormac Mccarthy ◽  
Pulitzer Prize ◽  
The Novel ◽  
The Road ◽  
Quentin Meillassoux

In Cormac McCarthy’s post-apocalyptic novel The Road (2006), which won the Pulitzer Prize for fiction, a boy and his father struggle to survive in a world decimated by an unspecified catastrophe.This post-apocalyptic world is dark, but relatively so because it is perceivable. The pre-apocalyptic world, as represented by the language of the father, is different. The father’s world is full of objects which are known and useful. The father’s world is a place of light and speech, while the boy’s world consists of darkness and silence. However, rather than reading the post-apocalyptic world as one of loss, its darkness is taken as a sign of potential. While this interpretation goes against the grain of most of the novel, it is supported by the repeated figuration of the boy as God. Graham Harman and Quentin Meillassoux are the main philosophers used to develop this argument.

Seducing-Machines

2016 ◽  
Author(s):  
Sean McQueen
Keyword(s):  
Middle Class ◽  
Film Adaptation ◽  
The Novel ◽  
Theoretical Approaches ◽  
Car Crashes ◽  
Primary Focus

This chapter turns to the 1973 J.G. Ballard novel Crash as well as its 1996 film adaptation by Cronenberg. It aims to make careful distinctions between Deleuze and Baudrillard and show why they gravitate to Crash. The primary focus in the novel is a cult of bored, middle-class professionals who feel alive only after modifying their bodies via staged car crashes. From here, the chapter reveals that Crash is notably quite flexible and can be subjected to many theoretical approaches, at times producing contradictory readings as a result. While Crash the novel might be a distinctly Baudrillardian creature, for example, Crash the Cronenberg film appears to lean more toward Deleuze.

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