By Rebecca Housel
'From digital camera Lens to serious Lens: a set of top Essays on movie Adaptation', edited by means of Rebecca Housel, takes the reader via movies by way of administrators like Alfred Hitchcock to interpreting the relevance of twenty-first century British politics with present movie; from screenwriter Charlie Kaufman to writer Virginia Woolf; and, interpreting new theoretical methods to foreign movie variations from China, Japan, Britain, Canada, and France, in addition to movies like 'Eternal Sunshine of the Spotless brain' and 'Daughters of the Dust'. the gathering is derived from the preferred tradition organization (PCA) film-adaptation-area convention papers, researched and written by means of fourteen diversified students from worldwide, who accrued jointly in San Diego, California in April 2005 to extra their examine through providing their principles on movie model, now in complete textual content models inside of this intriguing new quantity. available, enticing and informative, any viewers could learn and luxuriate in this edited assortment on movie model. the quantity might additionally paintings good for pedagogical reasons, either out and in of the school room. one of these quantity may well simply be utilized in classes for English, movie experiences, gender stories, women's reviews, wonderful paintings, psychology, political technological know-how, heritage, and extra. a piece of various overseas voices, this assortment represents some of the best on movie edition this day.
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Additional resources for From Camera Lens to Critical Lens: A Collection of Best Essays on Film Adaptation
Example text
When it transforms techniques of representation into objects of representation. 36 Anti-theatre in Film Oppenheim considers the resistance to narrativity and the domination of image over word in Beckett’s later plays analogous to Pop art’s problematization of representation (note the well disguised, unexamined assumption on which Oppenheim’s entire argument rests: of course in order to argue that minimal language and emphasis on the visual is a sign of the “problematization of representation” in theatre, Oppenhein must assume that the “essence” of theatre is precisely language so that any deviation from it, such as “the ghosting of language” in Beckett’s later plays, automatically becomes a symptom of the end of art, or, in this case, the end of theatre).
Futurist poets, for all their ecstatic references to a “universal dynamism,” still subscribed to the belief that there is “a homology between noun-based syntax and thing-based (molecular) reality”(127). Although they recommended using language in a non-instrumental fashion, the Futurists ultimately reaffirmed the belief that poetic language, stripped of its instrumentality, could tap into a spiritual substratum underlying the material world. Dada nonsense poetry, on the other hand, hovered somewhere in-between linguistic mimesis and pure sound.
Thus, he concludes that wherever the visual paradigm dominates, as in Pop art or in Beckett’s late minimalist works, “the result is a self-reflexivity that impedes expression in both”(59). ” Although Oppenheim upholds the binary understanding of word and image, his critical study has contributed to a significant shift in Beckett criticism—from poststructuralist to phenomenological readings—by drawing attention to “the visual paradigm” in Beckett’s later plays and novels, many of which often fall silent and become concentrated in a single, usually immobile, stage-image sculpted through extremely specific stage directions and subtle interactions of light and darkness.