Film Adaptation

"Everybody is well physically, but not mentally"
Two Years of Artistic Work in Times of War with the Jerusalem Academy of Music and Dance and the Educational Bookshop 2023 - 2025..Reports from Jerusalem during two years of war.
Published in the printed edition of the German weekly newspaper "Der Freitag" in cooperation with the British "Guardian" in edition nr. 36, September 4, 2025.

Considerado como um dos mais importantes intelectuais brasileiros, Milton Almeida
dos Santos (1926-2001) foi um geógrafo baiano que transcendeu o seu tempo e sua
condição ao propor, a partir da América Latina e, em particular, do território
brasileiro, uma teoria revolucionária voltada à leitura e à interpretação das
espacialidades do mundo contemporâneo. Levando-se em conta as preocupações
deste profícuo intelectual quanto ao entendimento da formação socioespacial
brasileira em sua totalidade, procura-se questionar quais as potencialidades que as
contribuições de Milton Santos acerca da noção de região têm na interpretação da
realidade coetânea do espaço amazônico. Nesse sentido, analisam-se tais
potencialidades e os desdobramentos das contribuições teórico-conceituais desse
geógrafo acerca do fenômeno regional, bem como busca-se compreender a
pertinência das suas discussões na interpretação da Amazônia contemporânea.
Apoiada no método do materialismo dialético, a pesquisa envolve os procedimentos
de levantamento e análise bibliográfica; levantamento e análise documental; análise
de conteúdo; e análise contextual. Desse modo, observa-se que, embora a
Amazônia não tenha sido um tema central nas pesquisas desenvolvidas por Milton
Santos ao longo de sua trajetória, ainda assim ela não escapou ao olhar analítico e
preocupado desse autor para com a totalidade espacial, com destaque tanto às
poucas mas significativas contribuições específicas que elaborou, quanto às
inúmeras menções feitas sobre esse espaço regional como exemplos de reflexão;
fato que permite concluir que a região amazônica sempre esteve presente nas
elaborações desse intelectual baiano e que suas teorias, categorias, conceitos e
noções possuem grandes potencialidades analíticas no desvelamento dos
processos que marcam a dinâmica socioespacial recente desse importante
subespaço brasileiro. Seu pensamento influenciou teses de doutorado e
dissertações de mestrado que, à luz de densa incorporação de suas contribuições
teórico-conceituais, analisam a Amazônia enquanto região na contemporaneidade.
Admite-se ainda, que, a partir da ideia de novas horizontalidades, concebidas
mormente a partir do exemplo dos povos e comunidades tradicionais amazônicos, é
possível estabelecer verdadeiros consensos ativos na região, cuja solidariedade,
uma vez configurada, tem como potência a construção de bases mais humanas para
se pensar em uma outra globalização e na possibilidade de um período popular da
historia.

Initially obscure, The Great Gatsby gained national prominence after WWII through the Armed Services Edition and leftist critical reappraisal, notably by Lionel Trilling. The novel’s transformation into an allegory of the American Dream overshadowed claims about its real-life inspiration, Max Gerlach. As Scott would tell his friend, John Peale Bishop in August 1926, Gatsby had started as one man he knew before turning into himself. It had been an intensely personal tale. Through biography, film, and cultural mythmaking, Gatsby evolved from flawed bootlegger to a symbol of hope and national identity, securing its place as an enduring American classic.

Colocar como temática de investigación cuestiones que involucran la construcción del otro y de sí mismo, o sea, de quien elabora tal construcción, en narrativas fílmicas que tienen como referencia la memoria y la experiencia social , viene de una inquietud de mi práctica de investigación como historiador y documentalista, preocupado con las relaciones de que se constituyen en el proceso de investigación fílmica, cuyos despliegues implican interpretación de trayectorias de vida de personas y

When Dada Saheb Dandi Raj Govind Phalke, in the year 1913, produced the first ever movie in India, it happened to be a mythological biopic based on the legendary Raja Harischandra. Hindi Cinema, popularly known as 'Bollywood' had its take-off from that and in the past few decades, several biopics have been made in Indian Cinema. It's an irony that it didn't spare even Phalke, the father of Indian Cinema, by making an emotional biopic on him in Marathi 'Harishchandrachi Factory' (2009) directed by Paresh Mokashi! Cambridge dictionary defines Biographical picture as "a film about the life of a real person." Whereas Collin's define it as "a film that tells the story of someone's life." A biopic is "a movie that dramatizes the life of a real, non-fictional individual. Short for "biographical motion picture," a biopic can cover a person's entire life or one specific

This chapter has two interrelated purposes. First, any discussion on intermediality as a programme of research should include a metatheoretical discussion on models and their fundamental components, and Lars was strategically aware of this. Second, I will argue the thesis that intersemiotic translation is the default on many scales of observation. Related to this, I will present some ideas about a model that I have developed with several collaborators in recent years, especially with Daniella Aguiar, Letícia Vitral, Lilian Moreira, and more recently with Pedro Atã. 1 This model is strongly influenced by Peirce's cognitive semiotics and by Peirce's mature theory of sign. To be more precise, the model is inspired by what we call Peirce's cognitive externalism. 2

У раду се анализирају представе женске инвалидности у роману Чедомир Илић. Инвалидност представља репер-тачку око које се образује нарација (наративна протеза), којом се карактеризује главни лик и којом је сам роман мотивисан (Хроми идеали је наслов прве верзије романа). Инвалидност се у роману доводи у везу са нескладном телесношћу, чудовишћношћу, обескореношћу, изолованошћу, самосвесношћу и слободнијом сексуалношћу. Инвалидност обухвата интердисциплинарно проучавање, стога се гледа, као и сексуалност, у контексту, и као конструкт. Кључне речи: инвалидност, конструкт, сексуалност, телесност, обескорењеност, наративна протеза, Чедомир Илић.

This paper aims to explore the versatility of Shakespearean plays by analysing the fifth act in two very different productions of one and the same tragicomedy, namely Much Ado about Nothing. The two theatrical performances are Jeremy Herrin’s Much Ado about Nothing (2012) and Christopher Luscombe’s Love’s Labour’s Won, or Much Ado about Nothing (2015). The original text has a lot to offer in terms of both comical and tragic elements, and it is the use of the other sign systems in the specific performances which make one aspect or the other prevail.  Since only the linguistic signs remain from Shakespeare’s original work, the other sign systems must be created and adapted to the dialogue by the individual directors. Ultimately, this leads to great differences in the reception and overall atmosphere of the two performances, even though they depart from the same fundamental text. By using the theoretical framework for semiotic analysis provided by Erika Fischer-Lichte in The Semiotics of Theatre, this paper attempts to analyse specific scenes in the two adaptations, paying particular attention to the non-linguistic sign systems. These include visual elements, such as mimic and kinesic signs, as well as the actors’ appearance and the use of space and lighting, and acoustic elements, be they paralinguistic or musical signs. Ultimately, I wish to prove that, due to certain directorial choices, Jeremy Herrin’s adaptation is overall more comical, whereas Luscombe’s version veers towards the tragic.

Adapting the Novel for the Stage: Translation in Intermedial Circulation proposes an integrative framework for understanding novel to stage adaptations. Through a translational lens, it introduces a twofold model that examines creative dynamics through intersemiotic translation and sociocultural dynamics through Bourdieusian sociology. It expands Bourdieu’s theory of international circulation into adaptation studies and introduces the concept of intermedial circulation. Through case studies of Alice’s Adventures in Wonderland, A Clockwork Orange, and Frankenstein, the monograph offers a framework for understanding how novels are transformed into performance through signs, agents, and institutions. It aims to provide a fresh perspective for researchers working at the intersection of translation, theatre, adaptation, multimodality, media, and literary studies.

In an era of increasing cultural interconnectedness, the negotiation between inherited identity and external influence has become a defining aspect of modern social experience. While often associated with contemporary globalization, the tensions of cross-cultural infiltration—alongside its accompanying identity crises and alienation from heritage—are not new phenomena. Jane Austen’s Pride and Prejudice, though set within the seemingly insular world of the early nineteenth-century English gentry, offers a subtle yet rich exploration of these dynamics. This paper examines the novel through the lens of cultural infiltration, focusing on how Mr. Darcy’s intrusion into the provincial life of the Bennets challenges both Elizabeth Bennet’s self-perception and her ties to her familial heritage. The analysis positions Darcy not merely as a romantic figure but as a symbolic representative of an external cultural order that disrupts local values, precipitating an identity crisis and a gradual distancing from inherited customs. Using theoretical perspectives from cultural studies, particularly concepts of hybridity, identity negotiation, and heritage alienation, the paper draws parallels between Austen’s narrative and present-day experiences of globalization and intercultural encounters. It contends that Austen’s work demonstrates how cultural intrusion—while potentially destabilizing—can also become a catalyst for transformation, fostering the creation of hybrid identities that reconcile pride in heritage with openness to the new.

The transnational cross-media project "American Humor and Matters of Empire" considers how and with what ideological signi cance American comic conventions re ect the history of unequal political relationships between the United States and other nations. This essay outlines three broad transnational traditions in American lm comedy based on the three varieties of empire shaping American cultural history. As the nation began in distinct North American colonies established by England, Spain, France, and the Netherlands, each of which bequeathed language, land use, and other cultural practices to its possessions, so a major tradition of American romantic and screwball lm comedies re ect colonial continuity with theatrical formulas based on European, especially British, social values (e.g., The Thin Man; Kiss Me, Kate; Raising Arizona; Kate and Leopold). Soon after the American Revolution, postcolonial rejection of British imperialism generated comic plots and characters inverting those inherited practices to instead af rm populist and democratic ideologies, notably the social equality and self-determination expressed in the 1776 Declaration of Independence and 1789 Constitution (e.g., Mr. Smith Goes to Washington, Private Benjamin, National Lampoon's Christmas Vacation, Tammy). Humor re ecting 19th-and 20th-century US hegemony subsequently emerged in two varieties: rst, neocolonial hybrids mixing conventional cosmopolitan and postcolonial tropes with comic traditions of indigenous peoples, immigrants, and other minority and ethnic cultures in comedies of domestic colonization (e.g., Blazing Saddles, Smoke Signals, and Bamboozled) and second, neoimperial plots often-slapstick burlesques of American interventions abroad (e.g., Road to …, M*A*S*H, and The Interview).

This edited volume sets out to examine how 21st-century films and television series adapt Frankenstein across diverse cultural contexts—from Hollywood blockbusters to local cinema traditions—to reanimate Shelley’s core themes for modern audiences. Through case studies spanning Guillermo Del Toro’s anticipated Gothic reimagining, German refractions, South Korean thrillers, and beyond, the volume aims to reveal how the Frankenstein lore speaks to urgent contemporary concerns. By doing so, it also aspires to formulate theoretical stances on localization.

This paper calls for new versions, or rewritings (Lefevere 1992), of Nabokov’s 1955 (in)famous novel Lolita. The call is a reaction to the features found in Adrian Lyne’s 1997 film adaptation and the respective AVT versions of Lyne’s and Kubrick’s 1962 adaptations, which seem to support popular visions of Lolita that do not fit in with current sensitivities regarding the topic nor, it is argued, with a deeper, more careful reading of Nabokov’s work. For years, there have been calls for Lolita or some of its adaptations to be cancelled as indecent or immoral, while many of those who market the Lolita ‘brand’ do so from a very similar (smutty) interpretation of the story. This study sets out to show how Lolita can serve the purpose of denouncing child abuse and sexual exploitation, and there is ample textual evidence in the novel to prove it.

Mothers and children are as inseparable as two sides of a coin. Their relationship is unique and special, based on love and utmost care. However, there is a fixed notion about how an 'ideal' and 'perfect mother' should be in our society, as motherhood is inextricably linked to rigid
gender roles in typically patriarchal societies. Over the years, movies have served as an effective platform to challenge and dismantle patriarchal structures, promote gender equality and empower women. They have depicted a mother's struggle in society and highlighted themes such as discrimination, abuse, suppression, resilience, sacrifice, and their journey to self-discovery. Within this paradigm, through the movie Mrs Chatterjee vs Norway by Ashima Chibber, the paper highlights the struggles of Debika, the central character, who grapples with the injustice meted out to her due to the rigid patriarchal mindset of her in-laws and the cultural conflicts and conspiracies she is subject to in Norway. The paper applies the theories of J.W. Berry, R.W. Connell and Sara Ruddick to elucidate the pain and agony of a distraught Bengali mother as also her power of endurance, grit and determination in a hostile environment.

This article revisits Dr. No (1962), the first James Bond film, through the lens of gender and narrative omission. While critics have long noted Sean Connery’s Bond treating women as secondary figures—passive, ornamental, or disposable—the film reaches a striking moment of erasure in its climax. After Quarrel is killed on Crab Key and Bond is captured with Honey Ryder, Dr. No invites him to join SPECTRE. Bond’s response cites revenge for the deaths of Strangways and Quarrel, but tellingly omits Strangways’ secretary, Mary, who was brutally murdered in the opening scene. This silence underscores how the film, and its hero, systematically diminish female characters to near invisibility. By foregrounding male loyalty while ignoring female loss, Dr. No reveals both the misogyny of early Bond and the blind spots in a franchise that otherwise prided itself on sharp observation.

This research paper examines the experimental nature of appropriation focusing on The National Academy of Performing Arts (NAPA) renditions of Shakespeare's Hamlet (1603) and Richard III (1597). It investigates how these adaptations bring about changes in both dramatic structure and artistic expression, dissecting visual and performative elements to uncover diverse meanings within live performances. The research delves into how NAPA's creative choices offer new ways to examine Shakespeare's universal themes-jealousy, incest, ambition, and hatredthrough unconventional theatrical presentations, viewed from a post-dramatic perspective. Using Hans Thies Lehmann's Post-dramatic theory (1960), it analyses alterations dramaturgical and aesthetical presentation such as plot construction, sign and symbol presentations. By bridging the gap between the art world and stagecraft, this study aims to deepen our understanding of how appropriation, aesthetics, and performance intersect. It also explores how these adaptations contribute to the global presentation of Shakespearean plays, offering insights from Pakistan's theatrical landscape.

Research on incumbent's difficulty in innovation has evolved around frameworks for identifying disruptive, architectural or discontinuous innovation, although it is widely acknowledged that incumbent's difficulty lies elsewhere, in financial evaluation and resource allocation. We propose an approach, based on transaction cost, to reduce incumbent's diffi- culty. We view that incumbents see a differential transaction cost between sustaining and disruptive choices of innovation due to the depressed transaction cost associated with the former and high transaction cost associated with the latter. For a new entrant the differential cost is absent or minimal. We propose, with five postulates, that incumbents should level their transaction costs for different innovation options. These postulates provide useful in- sights not only regarding the differences between innovation options available to an incum- bent, but also about possible vulnerability to disruption. A few methods a...

Une situation peut être kafkaïenne et un repas gargantuesque. On dit d'un tel qu'il est aussi intelligent que Sherlock Holmes et on associe depuis Proust la madeleine au souvenir. Les classiques littéraires sont tout autour de nous, jusque dans le langage courant. Mais comment une oeuvre devient-elle un classique ? Et pourquoi la lit-on encore ? Quels sont nos usages des classiques littéraires ? Quelles fonctions leur attribue-ton ? Ces questions se posent avec une acuité particulière alors que les discours sur l'identité, la transmission culturelle et les traditions sont plus nombreux et plus antagonistes que jamais. Réédités, enseignés, adaptés, réécrits, réimaginés et inlassablement commentés, les classiques littéraires ont toujours joué un rôle important dans la définition de l'identité d'une communauté-nationale ou non. L'auteur de ce livre pose un regard éclairé par la sociologie historique sur un sujet qui continue d'interroger notre rapport au monde.

Every Disney film begins with “once upon a time” and concludes with “happily ever after.” The
source materials for these family-friendly films are centuries-old fairy tales. There is, however, a
significant difference between the original sources and the animated films. The original sources were a
reflection of a problematic society, and movies make the content more romantic and fanciful for the
audience. In this paper, I intend to revise the Western world's centuries-old fairy tales and study them with
a critical approach to myths and stereotypes that are used in Disney movies with a sense of modification.
There are some dusty spots that need to be cleaned, and they are related to social biases. Some following
questions are; what exactly is myth and stereotype revision, how do Disney films conceal the true essence
of their original sources while establishing new moral values in society, Disney films teach us to live in
our imaginations, impact children when they are young, Disney movie enthusiast a daydreamer, they
destroying the spirit of self-actualization and self-respect.

Guillermo del Toro's Crimson Peak (2015) could be considered a neo-Victorian adaptation that reimagines Brontëan narratives, particularly Jane Eyre (1847) and Wuthering Heights (1847), alongside Daphne du Maurier's Rebecca (1938)-which is, in many ways, a rewriting of Jane Eyre. As a twenty-first-century Gothic film, Crimson Peak engages with a recognizable Brontëan cinematic language-characterized by motifs such as the isolated manor, the hilltop lovers, the incest taboo, the question of female identity, and the heroine's confrontation with hidden horrors, especially with the murder plot typical of the Bluebeard tale-all of which contribute to critique the patriarchal, capitalist, and colonialist structures that materially and psychologically dispossess the characters inhabiting these fictions. Despite its contemporary context, the present analysis questions whether del Toro's film critically reconfigures its literary predecessors' ambiguous yet incisive interrogation of these structures of power or instead simplifies and aestheticizes their tensions, ultimately reinforcing rather than subverting their problematic discourses.

Psicologia del non detto Il peso delle parole taciute in famiglia, coppia, società "Molto di ciò che non viene detto è proprio ciò che ci tiene insieme."-Natalia Ginzburg Colophon Uso dell'Intelligenza Artificiale / Use of Artificial Intelligence Questo testo è stato redatto con il supporto dell'intelligenza artificiale (ChatGPT) come strumento di assistenza alla scrittura. L'IA è stata impiegata in modo responsabile per generare idee, suggerimenti testuali, alternative narrative e supporto documentale. Il controllo creativo ed editoriale resta interamente attribuito all'Autore. This text was written with the support of artificial intelligence (ChatGPT) as an assistance tool during the writing process. The AI was used responsibly to generate ideas, textual suggestions, narrative alternatives, and research support. Full creative and editorial control remains entirely with the Author. Uso delle Immagini / Use of Images Le immagini presenti in questo saggio sono state tratte da fonti disponibili sul Web oppure generate dall'Autore con il supporto di strumenti di intelligenza artificiale (ChatGPT e Gemini). Esse hanno finalità unicamente illustrative e divulgative, senza scopo di lucro. Laddove possibile, sono state indicate le provenienze. In caso di utilizzo non intenzionale di materiale protetto da copyright, l'Autore resta disponibile a eventuali rettifiche o rimozioni su richiesta. Images in this essay were either sourced from publicly available material on the Web or generated by the Author with the support of artificial intelligence tools (ChatGPT and Gemini). They are intended solely for illustrative and educational purposes, with no commercial use. Provenance has been indicated whenever possible. In the event of unintended use of copyrighted material, the Author remains available for corrections or removal upon request.

A violência (gore) necessária para montar o anti-herói: um estudo representológico dos personagens Deadpool e Kick-Ass RESUMO Adotamos, no presente artigo, uma perspectiva represontológica para analisar a representação do anti-herói nos personagens Deadpool e Kick-Ass, a partir dos filmes lançados a partir de 2010. As representações de ambos remetem a um mesmo referente: o anti-herói. Metodologicamente, a pesquisa utilizou análise de conteúdo, demonstrando que o gore constitui elemento central na construção dos (anti)heróis: em Deadpool, concentrado no próprio personagem por meio de cenas de violência explícita, e em Kick-Ass, de forma mais difusa, nas relações sociais. Ademais, constatamos que representações de caráter ficcional dependem fortemente de um reservatório factual para explicitar seus conteúdos.

This chapter approaches adaptation from a hermeneutic perspective, specifically from a post-structuralist hermeneutics of discourse informed by symbolic interactionism. The intertextual relationship between a cultural product (e.g. a play) and its screen adaptation(s) is analysed as a performative intervention on an existing discourse formation which includes both the original product or text and the discourses using it, originating it, deriving from it or surrounding it. This intervention amounts to both an interpretation and an appropriation of the original text. Like other intertextual modes (translations, critical readings), adaptations produce a retroactive transformation of the original, not in se, but rather as it is used and understood in specific contexts and instances of communicative interaction. These theoretical issues are explored with a special focus on Shakespearean film adaptations, more specifically on the major Henry V films, Laurence Kenneth Branagh's (1989), and their treatment of violence and war in a variety of contexts. A case for a 'resisting' approach to Shakespearean adaptation is put forward.

Haider, directed by Vishal Bhardwaj, is a powerful and thoughtful reimagining of Shakespeare's classic tragedy Hamlet. The story takes place in Kashmir during the 1990s, a time when the region was undergoing a political turmoil, and emotional struggle for the local people. This paper is an attempt to explore the psychological unrest experienced by conflict zones like Kashmir and how Haider's tragic flaw (much like Hamlet's) is his overwhelming desire for vengeance, which causes him to lose his judgment and results in his destruction. The paper discusses how cinema acts as a stage to showcase the mental health of Kashmiris, which is often ignored by the social and political environment.

This study presents a comparative analysis of three cinematic adaptations of William Shakespeare’s Hamlet, directed by Laurence Olivier (1948), Kenneth Branagh (1996), and Michael Almereyda (2000). The primary objective is to examine how power, identity, and surveillance are represented in these adaptations and how the introduced changes influence the meaning and reception of the text. The research employs a comparative and qualitative methodology, drawing on theories of intertextuality (Kristeva & Stam), discourse analysis (Foucault), and adaptation as social action (Hutcheon). The findings reveal that each adaptation, shaped by its cultural and historical context, offers a unique reading of Hamlet. Olivier’s film emphasizes psychological tragedy and Hamlet’s internal struggles, Branagh’s adaptation provides a political and historical interpretation, and Almereyda’s version reimagines Hamlet within the digital modernity and surveillance capitalism. This research demonstrates that cinematic adaptations of Hamlet function not only as interpretations of the original text but also as reflections of contemporary discourses and socio-cultural transformations.

This Master's thesis explores the profound emotional impact of long takes in Andrei Tarkovsky's final films, Sacrifice (1986) and Nostalgia (1983). Drawing from personal experience and cinematic theory, the research argues that Tarkovsky's extended continuous shots create an immersive, unbreakable emotional connection with the spectator. The study analyzes how these technically complex sequences function as spiritual and philosophical vehicles, making them fundamentally un-editable without destroying their emotional power. Through detailed scene analysis and theoretical framework, this work demonstrates how Tarkovsky used long takes to sculpt time itself, transforming cinematic viewing into a meditative, emotionally transformative experience that mirrors the un-editable long take of human life.

Интеллектуальная собственность, как результат человеческого творчества, охраняется законом посредством авторского права и товарного знака при условии, что она обладает достаточным уровнем оригинальности и выражена в конкретной и ощутимой форме.

Employment in science, technology, engineering, and mathematics (STEM) fields will continue to grow in the coming years. Those entering the STEM workforce will be expected to demonstrate proficiency in areas such as literacy and problem solving, among other domains. Early access to STEM concepts such as coding may support skill development and foundational interests. This small project involved in integrating early coding concepts with foundational literacy skills in a preschool classroom setting through the use of nursery rhymes to promote both literacy and coding sequencing skills. Through lessons involving grids, directional arrows, and story character game pieces, students practiced sequencing events while learning basic coding vocabulary. Pre-and post-assessments revealed that preschool students demonstrated improvements in sequencing skills and began developing an emerging understanding of foundational early coding vocabulary. This suggests promising potential for integrating early coding concepts into early childhood curricula.

The origins of North American literature will always be attached to the religious principles brought about in the colonies of New England by the first European Puritan settlers disembarked at the coasts of Plymouth. Nathaniel Hawthorne was one of the dark romantics of the prolific nineteenth century in the United States who emerged from that Puritan ancestry and whose forefathers, William and John Hathorne, were deeply involved not only in the history of his native Salem and in its witchcraft episode, but also in the whole history of the Massachusetts Bay Colony since the seventeenth century. These familiar and historical facts were very influential in his life and in his literary career. In this paper, I will analyze the impact that all this caused on Hawthorne’s literary production.
Keywords: Hawthorne, Puritanism, Salem, Witchcraft, Devil, sin, supernatural phenomena

Résumé

Hervé Guibert (1955-1991), critique, écrivain et photographe, conservait nombre d’œuvres et d’images qu’il incluait à ses récits ou ses romans et que l’on voit régulièrement dans ses clichés. Cet ensemble iconographique n’existant plus qu’à l’état de traces d’un atelier littéraire éparpillé, il est opportun de se demander en quoi une pratique artistique seconde permet de révéler les supports et dispositifs de travail d’un auteur, et dans quelle mesure elle confirme son cheminement.

Mots clés

Atelier littéraire, pratique photographique, trace existentielle, table d’écrivain, tableau, collection iconographique, portrait, image, reproduction, carte postale, photographie, mise en abîme.

The release of Todd Phillips’ Joker in 2019, while generally met with rave critical reviews from more progressively-minded cinema scholars, was met with media reception that was more mixed. From rhetoric diminishing the narrative to “the back-story that nobody wanted,” to more dire accusations of the narrative glorifying the most violent consequences of mental health problems, the media seemed baffled by a film about an infamous DC Comics villain in an idiom of social realism that did not satisfy the established conventions of such films.  But it is this very response that speaks to the larger ways in which the character of “the Joker” has worked as a convenient receptacle for the vilification or trivialization of progressive anarchist philosophies, even from the ostensible neo-Marxist left. The project of this paper is to demonstrate the ways in which media interests at the levels of cinematic production through to their journalistic reception work to control and marginalize certain progressive ideologies that run counter to their interests, in this particular case by deploying widespread stereotypes of mental illness and instability that map neatly, in the arena of normative ideology, onto the image of the insane clown (always an “anarchist”). It is also, more specifically, to demonstrate the ways in which progressive anarchist philosophy remains an ideological scapegoat for even ostensibly left-inflected political stances.

This study investigates the diminishment of poetic distinctiveness in the translations of Rabindranath Tagore's Gitanjali 17, focusing on the English renditions by Tagore, Brother James, and William Radice. This research, rooted in Walter Benjamin's concepts of "afterlife" and "fidelity," as well as Lawrence Venuti's ideas of "domestication" and "foreignization," analyses how each translation either maintains or modifies the core of the original Bengali text. The objectives include identifying alterations in poetic structure, cultural elements, and grammatical precision, along with evaluating which translation most faithfully retains the lyrical and philosophical depth of the original text. The study utilises meticulous textual analysis as its primary method, demonstrating that Tagore's translation, while spiritually resonant, sacrifices poetic form and cultural uniqueness for the benefit of accessibility to Western audiences. Radice's translation possesses a lyrical character but often includes superfluous or redundant rhythmic lines, whereas Brother James is the most precise in preserving stanza structure, line count, and semantic fidelity. The research indicates that translation is not a neutral endeavour but a creative and interpretive process. Recognising the translator's clear engagement highlights the importance of culturally and formally sensitive translation that honours the authenticity of the source content.

Comparative literature is comparing two different works of art. This analysis is done to know the relationship between those two works of art. Beside, by comparing two works of art, we will also know the society which is represented by those two stories since literary works are mirroring society.
In this paper, the writer compares the the story of bujang katak from indonesia and the story of beauty and the beast from england. Those two stories represents the thought both countries where they come from. Those two stories can be categorized as children stories.
The result of the analysis shows some similarities and some differences in both stories. The differences lay on the plot of the story. The similarities lay in the message which the writer wants to deliver to the readers. Here the readers are children since both stories being analyzed are children stories. Both stories express the way the old generation wants to teach the young heneration through stories which are full of moral education.

Resumo: Este texto propõe uma reflexão sobre a adaptação cinematográfica de obras literárias pautada pelas noções de transtextualidade e recriação, termos cunhados respectivamente por Gerard Genette e Haroldo de Campos. Os objetos analisados serão o romance Medo e Delírio em Las Vegas: Uma Jornada Selvagem ao Coração do Sonho Americano, publicado em 1972, escrito pelo jornalista americano Hunter S. Thompson; duas versões de roteiros literários adaptados e a película intitulada Medo e Delírio, lançada em 1998, dirigida pelo cineasta norte-americano Terry Gilliam. O argumento defendido é que ao analisarmos as transformações empreendidas no processo de adaptação de uma forma expressiva à outra, revelamos um trabalho que pode ser considerado um esforço de recriação que tem na escrita do roteiro literário um momento definidor. Palavras-chave: adaptação para cinema; roteirização de cinema; tradução.

The present paper examines intersemiotic translation of magic folk tales. Research objective is to show the structural identity of the surface structure which can be described as a sequence of plot elements (“functions”) of fairy-tale characters; in semiotic terms it is explained by the existence of a universal matrix defining the law of genre. The authors go on to the cognitive-culturological aspect of fairy tales in terms of N. Chomsky. This research paper has clearly shown that “functions” of the surface structures correspond to plans, scenarios and frames of the deep structures, which differ in British and Russian magic fairy folk tales (wonder folk tales). Numbers and proper names are the main permanent elements of fairy tale narrative: on the level of the surface structures they connect the universal matrix of a fairy tale discourse organizing space and rhythm and at the level of the deep structures — they help to understand the main features of the national character. The stu...

The teachings of G. I. Gurdjieff (c. 1877-1949) are often presented as anti-modern; thus, his reputed disdain for modern art and classical music, advocacy of peasant remedies for medical conditions, and other seemingly atavistic attitudes and behaviours are understood as ‘traditional’, antithetical to modernity. This interpretation is erroneous; for example, Gurdjieff used the literary genre of science fiction (quintessentially modern) to convey key teachings in Beelzebub’s Tales to His Grandson (1950), and exhibited knowledge of contemporary science and medicine, music and literature. He collaborated with pupils who were expert in these fields (for example, P. D. Ouspensky, Thomas de Hartmann, and Alfred R. Orage), and was regarded by representatives of the Traditionalist school of René Guénon (1886-1951) and Frithjof Schuon (1908-1998) as anti-traditional, an enemy. This paper clarifies the relationship of Gurdjieff and his teachings to traditional views and reclaims his status as a thinker and teacher in modernity. This modern (and modernist) strain in his teachings is reinforced by the cultural productions of his pupils and the contribution he made to an entirely new esotericism, one not known prior to the twentieth century.

This article identifies, outlines, and diagrams the implicit film analysis methodologies used in the British Film Institute (BFI) Film Classics  book series. The series represents important achievements in film analysis,  with each book offering a detailed study of one film. However, the authors  do not clearly state their analysis methods, making them hard to apply
directly.
The study results will help film scholars use this approach in their work or
adapt it for specific research tasks. The diagrams based on these methods will simplify film analysis. These findings can also help professors in Cinema and Media Studies develop “Film Analysis” courses.
Due to length limits, the paper focuses on three books analyzing Picnic at
Hanging Rock (1975), The Shining (1980), and Gone With the Wind (1939).