The rugged adventurer

This chapter explores the final genre with which Power was associated and perhaps best remembered for: the action-adventure film. Second only to his output in drama, Power starred in 11 action-adventure films between 1939 and 1957, some of which have very different themes and production values. While The Rains Came (Clarence Brown, 1939) was his only action-adventure film of the 1930s, in which he plays an Indian doctor with a turban and moustache, Power made an additional six action-adventure films in the 1940s and another four in the 1950s. Primarily remembered today as a swashbuckler as a result of his role in The Mark of Zorro (Rouben Mamoulian, 1940), Power’s other action-adventure films include The Black Swan (Henry King, 1942), Untamed (Henry King, 1955) and his final film of the genre: Abandon Ship! (Richard Sale, 1957). The latter was based on true events and made by Power’s own company, Copa Productions. Filmed in stark black and white and set on a small lifeboat, when the captain of a destroyed cruise ship dies, Power’s character is put in charge and must decide who lives and who dies since the vessel they are on cannot possibly hold them all.

Greta Garbo and Clarence Brown: An Analysis of their Professional Relationship in the Context of Classical Hollywood Cinema

Este artículo consiste en un estudio de la relación profesional de Greta Garbo y Clarence Brown, su realizador más habitual en Hollywood, quien la guio en siete largometrajes —ningún otro cineasta la dirigió en más de dos— y al que la crítica y la historiografía han señalado invariablemente como su “director favorito”. Aunque a finales de los años veinte y durante la primera mitad de los años treinta el tándem Garbo-Brown se consideró el equipo más exitoso de actriz y realizador de la época, a día de hoy su asociación es prácticamente desconocida. ¿Fue Brown realmente su “director favorito”? ¿A qué se debió la reticencia de Garbo a repetir más de dos veces con un mismo cineasta? ¿Por qué permitió, en cambio, que Brown la guiará en siete films? ¿Cuál fue su éxito al dirigirla? ¿Era Garbo una actriz técnica o instintiva? ¿Fue una gran intérprete o simplemente un rostro magnífico dotado de una fotogenia excepcional? Para desvelar estos interrogantes, se han analizado de forma cronológica y en profundidad sus siete películas conjuntas, realizadas a lo largo de once años de colaboración, y se han consultado abundantes documentos del periodo y actuales, así como una entrevista inédita con el director.

Racial Debts, Individual Slights, and Sleights of Hand in Faulkner’s Intruder in the Dust

William Faulkner's novel Intruder in the Dust (1948) thematizes racial debt as a form of racial reparations. Racial debt and its repayment emerge as the white boy Chick Mallison's obsession with defining and ridding himself of a debt he owes Lucas Beauchamp, a black man. When a lynch mob threatens Lucas, it becomes Chick's responsibility to save his life. Guided by Lucas in how to do so, Chick learns about cross-racial family ties and the collective profits and debts of history. Contemporary civil rights and anti-lynching movements, the actual lynching of Ellwood Higginbotham, as well as the shooting of the film version of Intruder in Faulkner's own Oxford, Mississippi in 1949 amplify the novel's debt and reparations theme. Despite publisher and studio warnings, Faulkner and director Clarence Brown render lynching central to Intruder's story while Kauffer's cover art encodes artists' resistance to censorship and marketing demands.

An Uneasy Character: John Calhoun’s Cameos in The Gorgeous Hussy and Amistad

This article explores the figure of John Calhoun in two movies, The Gorgeous Hussy (1936), directed by Clarence Brown, and Amistad (1997), directed by Steven Spielberg. In both these movies, John Calhoun’s character had very few but significant scenes that portrayed him as one of those having moral responsibility for the forthcoming Civil War. This representation is in line with the traditional treatment reserved for Calhoun in American history and literature. Building on these cameos in this essay I shall try to reconstruct his thoughts on two matters: States’ rights and slavery.

Anna Karenina no cinema: o primeiro encontro de Anna e Vronski nos filmes de 1935, 1948 e 2012 / Anna Karenina on the cinema: the first encounter of Anna and Vronski in the movies from 1935, 1948 and 2012

RESUMO: Este estudo surgiu da participação no grupo de pesquisa intitulado Literatura em Diálogo, que tem como objetivo o estudo e a pesquisa sobre as diversas adaptações cinematográficas do romance Anna Karenina, de Leon Tolstói. Neste estudo, em particular, é feita uma análise da primeira cena de encontro entre Anna Karenina e Alexei Vronski, nas adaptações cinematográficas de 1935 (Clarence Brown), 1948 (Julien Duvivier) e 2012 (Joe Wright), e no texto literário de Tolstói (1877). A apropriação do texto literário pelo cinema fez com que os olhares de teóricos de ambas as artes se voltassem para a relação entre elas. Sendo assim, há diversos conceitos a serem analisados e articulados, entre eles: fidelidade, tradução, elementos fílmicos e intertextualidade. Nesta pesquisa, investiga-se o material literário, sua recriação cinematográfica e as múltiplas possibilidades que surgem dessa relação de linguagens artísticas diferentes e com particularidades específicas. Dentro das próprias produções fílmicas serão apontadas, ao longo do artigo, as diferentes formas de realizar adaptações, que carregam as ideologias do seu realizador, condições de realização e contextos históricos diferentes. A perspectiva teórica que norteia esta pesquisa é a literária em conjunto com a cinematográfica, segundo os estudos de Stam (2006), Pereira (2009), Hutcheon (2011) e outros. Em outras palavras, investiga-se qual(is) representação(ções) pode(m) ser percebida(s) nessas adaptações fílmicas feitas através da apropriação do texto. Pretende-se observar não somente o deslocamento do literário para a obra cinematográfica, mas também as diferentes formas de se fazer a adaptação dentro das próprias produções para a tela do material ficcional, pois não existe uma única maneira de produzir adaptações.PALAVRAS-CHAVE: Anna Karenina; adaptações; cinema; literatura; pesquisa.ABSTRACT: The origin of this study is the participation in the research group Literature and Dialogue, that seeks to study and research the many filmic adaptations of the novel Anna Karenina, by Leon Tolstoi. In this particular study, an analysis of the first encounter between Anna Karenina and Alexei Vronski was conducted, as it was portrayed in the filmic adaptations from 1935 (Clarence Brown), 1948 (Julien Duvivier) and 2012 (Joe Wright), as well as in the literary text by Tolstoy (1877). The appropriation of the literary text by the cinema made the theoreticians from both fields turn their attention towards the the relationship between them: fidelity, translation, filmic elements and intertextuality. In this research, the literary material was investigated, as well as its filmic recreations and the multiple possibilities that come from the relationship between different artistic languages with specific particularities. Within the filmic productions themselves, throughout the article, different ways to conduct adaptations are going to be pointed at, as they carry the ideologies of their auteurs, the conditions in which they were produced and their different historical contexts. This study was informed by literary and cinematographic theoretical perspectives, according to the studies of Stam (2006), Pereira (2009), Hutcheon (2011) and others. In other words, this study investigates which representations may be found in the filmic adaptations conducted through the appropriation of the text. The study aims not only at looking at the movement from literature to cinematographic work, but also at the different ways to conduct an adaptation within the productions of the fictional material for the screen, since there are many possible ways to produce adaptations.KEYWORDS: Anna Karenina; adaptations; cinema; literature; research.

Ana Karênina: A Corrida de cavalos na versão cinematográfica de 1935

Este presente estudo tem como objetivo estudar as relações estabelecidas entre o romance Ana Karênina, de Liev Tolstói e sua adaptação fílmica de 1935, dirigida por Clarence Brown. Analisaremos um episódio do livro, que é a corrida de cavalos, e na qual nosso foco será entender o destaque dado à personagem interpretada pela atriz Greta Garbo no filme, apesar de o livro ter outras personagens importantes também. Procuraremos demonstrar que o objetivo do diretor Clarence Brown era mostrar Garbo e não o romance de Tolstói. Mostraremos as técnicas que o diretor selecionou para focar somente em Ana, fazendo uma condensação de cenas, personagens e diálogos, tudo para dar destaque à Garbo, mostrando todo o melodrama que era a vida da protagonista de Tolstói. Utilizou-se das contribuições de vários estudiosos das relações entre o cinema e a literatura, como Makoveeva (2001), Diniz (2005) e Stam (2006).PALAVRAS-CHAVE: Ana Karênina; adaptação fílmica; técnicas; melodrama