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This book brings film adaptation of literature to bear on the question of how nineteenth-century imperial ideologies of progress continue to inform power inequalities in a global capitalist age. Not simply the promotion of general betterment for all, improvement in the British colonial context licensed a superior “master race” to “uplift” its colonized populations—morally, socially, and economically. This book argues that, on the one hand, film adaptations of nineteenth-century novels reveal the arrogance and coercive intentions that underpin contemporary notions of development, humanitarianism, and modernity—improvement’s post-Victorian guises. On the other hand, the book also argues that the films use their nineteenth-century source texts to criticize these same legacies of imperialism. By bringing together film adaptation, postcolonial theory, and literary studies, the book demonstrates that adaptation, as both method and cultural product, provides a way to engage with the baggage of ideological heritage in our contemporary global media environment.
“Hamlet” by Olivier, Kaurismäki or Shepard and “Pride and Prejudice” in its many adaptations show the virulence of these texts and the importance of aesthetic recycling for the formation of cultural identity and diversity. Adaptation has always been a standard literary and cultural strategy, and can be regarded as the dominant means of production in the cultural industries today. Focusing on a variety of aspects such as artistic strategies and genre, but also marketing and cultural politics, this volume takes a critical look at ways of adapting and appropriating cultural texts across epochs and cultures in literature, film and the arts.
From David Lean's big screen Great Expectations to Alejandro Amenábar's reinvention of The Turn of the Screw as The Others, adaptations of literary classics are a constant feature of popular culture today. The Bloomsbury Introduction to Adaptation Studies helps students master the history, theory and practice of analysing literary adaptations. Following an introductory overview of major debates and concepts, each chapter focuses on a canonical text and features: - Case study readings of adaptations in a variety of media, from film to opera, televised drama to animated comedy show, YA fiction to novel/graphic novel. - Coverage of popular appropriations and re-imaginings of the text. - Discussion questions and creative exercises throughout to guide students through their own analyses. - Annotated guides to further reading and viewing plus online resources. - The book also includes chapter overviews and a glossary of critical terms to give students quick access to key information for further study, reference and revision. The Bloomsbury Introduction to Adaptation Studies covers adaptations of: Jane Eyre; Great Expectations; The Turn of the Screw; The Great Gatsby.
This collection of essays foregrounds the work of filmmakers in theorizing and comparing postcolonial conditions, recasting debates in both cinema and postcolonial studies. Postcolonial cinema is presented, not as a rigid category, but as an optic through which to address questions of postcolonial historiography, geography, subjectivity, and epistemology. Current circumstances of migration and immigration, militarization, economic exploitation, racial and religious conflict, enactments of citizenship, and cultural self-representation have deep roots in colonial/postcolonial/neocolonial histories. Contributors deeply engage the tense asymmetries bequeathed to the contemporary world by the multiple,diverse, and overlapping histories of European, Soviet, U.S., and multi-national imperial ventures. With interdisciplinary expertise, they discover and explore the conceptual temporalities and spatialities of postcoloniality, with an emphasis on the politics of form, the ‘postcolonial aesthetics’ through which filmmakers challenge themselves and their viewers to move beyond national and imperial imaginaries. Contributors include: Jude G. Akudinobi, Kanika Batra, Ruth Ben-Ghiat, Shohini Chaudhuri, Julie F. Codell, Sabine Doran, Hamish Ford, Claudia Hoffmann, Anikó Imre, Priya Jaikumar, Mariam B. Lam, Paulo de Medeiros, Sandra Ponzanesi, Richard Rice, Mireille Rosello and Marguerite Waller.
This surprising study draws together the disparate fields of postcolonial theory and book history in a challenging and illuminating way. Robert Fraser proposes that we now look beyond the traditional methods of the Anglo-European bibliographic paradigm, and learn to appreciate instead the diversity of shapes that verbal expression has assumed across different societies. This change of attitude will encourage students and researchers to question developmentally conceived models of communication, and move instead to a re-formulation of just what is meant by a book, an author, a text. Fraser illustrates his combined approach with comparative case studies of print, script and speech cultures in South Asia and Africa, before panning out to examine conflicts and paradoxes arising in parallel contexts. The re-orientation of approach and the freshness of view offered by this volume will foster understanding and creative collaboration between scholars of different outlooks, while offering a radical critique to those identified in its concluding section as purveyors of global literary power.
Intercultural Screen Adaptation offers a wide-ranging examination of how film and television adaptations (and non-adaptations) interact with the cultural, social and political environments of their national, transnational and post-national contexts. With screen adaptations examined from across Britain, Europe, South America and Asia, this book tests how examining the processes of adaptation across and within national frameworks challenges traditional debates around the concept of nation in film, media and cultural studies. With case studies of films such as Under the Skin (2013) and T2: Trainspotting (2017), as well as TV adaptations like War and Peace (2016) and Narcos (2015 - 2017), Intercultural Screen Adaptation offers readers an invigorating look at adaptations from a variety of critical perspectives, incorporating the uses of landscape, nostalgia and translation.
Shanghai in the 1920s and 1930s—"the Paris of the Orient"—was both a glittering metropolis and a shadowy world of crime and social injustice. It was also home to Huo Sang and Bao Lang, fictional Chinese counterparts to Arthur Conan Doyle’s Sherlock Holmes and Dr. Watson. The duo lived in a spacious apartment on Aiwen Road, where Huo Sang played the violin (badly) and smoked Golden Dragon cigarettes as he mulled over his cases. Cheng Xiaoqing (1893–1976), "The Grand Master" of twentieth-century Chinese detective fiction, had first encountered Conan Doyle’s highly popular stories as an adolescent. In the ensuing years he played a major role in rendering them first into classical and later into vernacular Chinese. In the late 1910s, Cheng began writing detective fiction very much in Conan Doyle’s style, with Bao as the Watson-like-I narrator—a still rare instance of so direct an appropriation from foreign fiction. Cheng Xiaoqing wrote detective stories to introduce the advantages of critical thinking to his readers, to encourage them to be skeptical and think deeply, because truth often lies beneath surface appearances. His attraction to the detective fiction genre can be traced to its reconciliation of the traditional and the modern. In "The Shoe," Huo Sang solves the case with careful reasoning, while "The Other Photograph" and "On the Huangpu" blend this reasoning with a sensationalism reminiscent of traditional Chinese fiction. "The Odd Tenant" and "The Examination Paper" also demonstrate the folly of first impressions. "At the Ball" and "Cat’s-Eye" feature the South-China Swallow, a master thief who, like other outlaws in traditional tales, steals only from the rich and powerful. "One Summer Night" clearly shows Cheng’s strategy of captivating his Chinese readers with recognizably native elements even as he espouses more globalized views of truth and justice.
Keywords offers a conversational journey through the overlying terrains of politically engaged art and artistically engaged politics, combining a major statement on subversive aesthetics, a survey of radical film strategies, and a lexicon of over a thousand terms and concepts. No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative Creates and illustrates over a thousand terms and concept, drawing its examples from a wide range of media Provides a broad timespan, covering the very ancient (Ramayana, Aristotle) to the most current (digital mashups, memes) Uniquely discusses the areas of film, television and the internet within one book No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative
THE WILEY BLACKWELL COMPANION TO CONTEMPORARY BRITISH AND IRISH LITERATURE An insightful guide to the exploration of modern British and Irish literature The Wiley Blackwell Companion to Contemporary British and Irish Literature is a must-have guide for anyone hoping to navigate the world of new British and Irish writing. Including modern authors and poets from the 1960s through to the 21st century, the Companion provides a thorough overview of contemporary poetry, fiction, and drama by some of the most prominent and noteworthy writers. Seventy-three comprehensive chapters focus on individual authors as well as such topics as Englishness and identity, contemporary Science Fiction, Black writing in Britain, crime fiction, and the influence of globalization on British and Irish Literature. Written in four parts, The Wiley Blackwell Companion to Contemporary British and Irish Literature includes comprehensive examinations of individual authors, as well as a variety of themes that have come to define the contemporary period: ethnicity, gender, nationality, and more. A thorough guide to the main figures and concepts in contemporary literature from Britain and Ireland, this two-volume set: Includes studies of notable figures such as Seamus Heaney and Angela Carter, as well as more recently influential writers such as Zadie Smith and Sarah Waters. Covers topics such as LGBT fiction, androgyny in contemporary British Literature, and post-Troubles Northern Irish Fiction Features a broad range of writers and topics covered by distinguished academics Includes an analysis of the interplay between individual authors and the major themes of the day, and whether an examination of the latter enables us to appreciate the former. The Wiley Blackwell Companion to Contemporary British and Irish Literature provides essential reading for students as well as academics seeking to learn more about the history and future direction of contemporary British and Irish Literature.
Film and television adaptations of classic literature have held a longstanding appeal for audiences, an appeal that this book sets out to examine. With a particular focus on Wuthering Heights , the book examines adaptations made from the 1930s to the twenty-first century, providing an understanding of how they help shape our cultural landscape.