By Deborah Cartmell
It is a entire number of unique essays that discover the aesthetics, economics, and mechanics of motion picture edition, from the times of silent cinema to modern franchise phenomena. that includes a number of theoretical methods, and chapters at the historic, ideological and monetary facets of edition, the amount displays today’s reputation of intertextuality as an important and revolutionary cultural force.
* comprises new examine in version reports* incorporates a bankruptcy at the Harry Potter franchise, in addition to different modern views* Showcases paintings by means of top Shakespeare version students* Explores attention-grabbing issues akin to ‘unfilmable’ texts* comprises precise concerns of Ian McEwan’s Atonement and Conrad’s Heart of Darkness
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Extra resources for A Companion to Literature, Film and Adaptation
Are these images traumatic? It is their code that Georges the talk show host struggles to know, struggles to put into words. Coda Sadomasochism is centrally present in most of Haneke’s films—beginning with his first feature film, The Seventh Continent, moving through Benny’s Video, 71 Fragments, The Castle, Funny Games, Time of the Wolf, as well as Caché, and it is the center of attention in The Piano Teacher, a virtual case study of this emotional double bind. Sadomasochism, of course, is the mindset described in Powell’s Peeping Tom as well.
And in so doing, I would like to propose, he offers us a crucial distinction for the consideration of violence in the work of Michael Haneke. Above all else, Haneke’s work is violent. It would be quite simple to describe Haneke as an immoral sadist who relishes in the desecration of the body as a form of entertainment. Of course, Haneke does not make a 35 b r ia n p r i c e spectacle of violence; its appearance occurs in a phenomenological frame. It tends toward the blunt muteness of its actual occurrence in the world.
18 Thus, even denotation ultimately bears connotation within. Is it possible that the scene captured by Kertész—a blind, old violinist led over a dirt road by a child—is conjured up in Haneke’s film by the Romanian woman and her grandson, walking along a dirt road enveloped in dust? Haneke’s film also seems to revel in the affective charge of the photographic, the filmic image—indeed, in any kind of image at all, the digital included. Thus, even if the filmic image is without explanatory power, it nevertheless has the power to move us.
A Companion to Literature, Film and Adaptation by Deborah Cartmell