Film Adaptation

In this book, Nariman Skakov explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from 'Ivan's Childhood' (1962) to 'Sacrifice' (1986). He argues that dreams, visions, mirages, memories, revelations, reveries, and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity. Each chapter is dedicated to the discussion of one of Tarkovsky's seven feature films and, in each, one of these phenomena functions as a refrain. Skakov discusses the influence of the flow of and lapses in space and time on the viewer's perception of the Tarkovskian cinematic universe. He opens and closes his original and fascinating book on Tarkovsky's cinema by focusing on the phenomenon of time that was discussed extensively by the filmmaker in his main theoretical treatise 'Sculpting in Time,' as well as in a number of interviews and public lectures.

El propósito de este ensayo es poner de manifiesto la confluencia de la tragedia de venganza y las prácticas extremas del arte del cuerpo o body art en la película "El cocinero, el ladrón, su mujer y su amante" (1991) de Peter Greenaway, poniendo especial atención en la escena final del banquete caníbal. La obra del cineasta británico está salpicada de imágenes de violencia inspiradas en el teatro isabelino y jacobeo –en concreto de dramaturgos como William Shakespeare y John Ford– filtradas a través de las teorías teatrales de Antonin Artaud y Bertolt Brecht. Del primero toma Greenaway su noción de crueldad; del segundo, las técnicas de distanciamiento necesarias para afrontar la imagen desde una posición crítica. El resultado transciende las distinciones genéricas entre teatro y cine, acercándose ética y estéticamente a las prácticas de arte extremo habidas en Europa desde los años sesenta.

El  presente  análisis  muestra  la  riqueza  que  existe  en  esta  joven  rama  de  la  crítica  literaria en nuestro país. Por tal razón, este trabajo se apoya en la comparación narrativa del cuento de “Las babas del diablo” de Julio Cortázar y su adaptación cinematográfica Blow-up del    realizador    italiano    Michelangelo    Antonioni    para    ejemplificar    concretamente las virtudes de un análisis de esta naturaleza.
Ambos  textos  presentan  un  cierto  grado  de  complejidad  y  la  intención  es  ejemplificar  una  de  las  tantas  posibilidades  teóricas  que  puedan  responder  a  muchas  interrogantes que se han generado respecto a la validez de la obra de Antonioni respecto de  la  Cortázar,  ambas  grandes  exponentes  tanto  en  la  Historia  de  la  Literatura  Latinoamericana como del Cine Europeo contemporáneo.

The essay explores the multifaceted nature of the journey through sex-change narratives; the approach centres on intimacy and the individual. The process of construction and re-construction of identity through sex-reassignment is analysed as a symbolic crossing of the barriers between genders and culturally constructed sex roles in Twentieth Century literature.
Anthropologist Arnold van Gennep's systematisation of the Rites of Passage model, further elaborated by Anne Bolin in "In Search of Eve" on M-to-F Transsexual life experiences, provides the basis for schematisation and interpretation of two exemplary texts: "Orlando" by Virginia Woolf, and "The Danish Girl" by David Ebershoff. Within the context of sex transformation, these two novels participate in the debate around the investigation of human identity, the Self and its process of formation and definition according to the parameters of external society; their paramount value is therefore not limited to the field of literary critique and Quees Studies, but also to the very transsexual and transgender communities, whose experiences intersect constantly with other major kinds of oppression worth discussion.

This study will highlight how rhetorical devices and stylistic techniques are employed both in the novel Pride and Prejudice and in its 2005 film adaptation to transform and mitigate the destabilizing power of passion. The use of tropes, such as synecdoche and metonymy, and of the stylistic technique of focalization, finds its effective counterpart in the filmic grammar that includes close-ups, insert shots, subjective shots, eyeline matches and reaction shots. The direct correspondence between the literary devices chosen by Jane Austen and the visual equivalents employed by the cinema will be elaborated on.

The unprecedented economic growth and immigration that Ireland experienced between 1995 and 2007 did not only challenge national but also ethnic, social, and gender identities. The contributions to this volume explore how films tackle these challenges and help to make sense of Ireland’s altered position in a globalised world. Among the films discussed are some of the most critically acclaimed Irish films of recent years, including Once (2006), Adam & Paul (2004), Garage (2007), and The Secret of Kells (2009), as well as the work of Oscar-winning director and writer Neil Jordan. The volume is completed by an extensive interview with award-winning director Lenny Abrahamson, and his collaborator, screenwriter and actor Mark O’Halloran.

The article will consider how, based on the sci-fi novel "Roadside Picnic" (1972) by Arkady and Boris Strugatsky, director Andrei Tarkovsky shot the author's film "Stalker" (1979). film adaptation of a literary work, that is, he translated the novel from the language of literature into the language of the film and transferred it from the sci-fi genre to the non-genre art film.
It also deals with the filmography of Andrei Tarkovsky and his screenwriters, about the work on writing the script for the film "Stalker" and the problems associated with creating of the script.
According to the idea of Andrei Tarkovsky, the director of the film "Stalker", a radical adaptation of the novel "Roadside Picnic" by A. and B. Strugatsky was made, which has little in common with original literary piece.

This book addresses the motif of literary twinship from the Shakespearean age until today. Twins have all too often been discussed as mere footnotes to the allegedly more nuanced motif of the doppelganger, or as a kind of 'embarrassing' secret of literary history that is said to occur merely in inferior genres like farce or horror fiction. This study, by contrast, makes a case for the complexity of literary twinship across the literary spectrum, and it demonstrates that twinship articulates bodily anxieties, dynastic troubles, and genetic concerns that the classic double trope cannot ac-commodate. While the book does not deliver a complete and unabridged history of literary twin-ship (as such a history would inevitably be one marked by long gaps), it still examines twinship in a diachronic fashion and in different historical periods in order to show how the category of twinship is frequently re-negotiated as part of larger discursive shifts. Some historical periods understand twins mainly as a biological conundrum that threatens to expose the arbitrary laws of dynastic kin-ship, others as an epistemological problem that challenges any attempt to impose clear-cut definitions.
The individual case studies trace the development of the category of twinship over time, demonstrating how the twin was repeatedly (re-)invented as a cultural and pathological type when other discursive areas (including the fields of criminology and eugenics) constituted themselves, and how it served as the battleground for ideological disputes. It is in-midst of these discursive processes that I locate literary twinship, and my goal is not to demonstrate that literature 'mirrors' scientific debates of the day. Not only is it evident that literature frequently prefigured the discussions of modern twin scholarship, it has also been instrumental in facilitating these debates and in contributing to the negotiation of power shifts, for instance by setting the stage for debates regarding kinship systems in the Shakespearean age, by engaging in the Victorian reformulation of the criminal as genetically/pathologically evil, or by contributing to the dystopian quality of cloning discourse in the 20th century.

This volume looks at the ways in which adaptations can and have been taught by leading academics in the field of Adaptation Studies from all over the world. While aware that Shakespeare and canonical literature remain the mainstay of adaptation study in English, Teaching Adaptations addresses the challenges and appeal of teaching popular fiction and culture, video games and new media content, which serve to enrich the curriculum, as well as exploit the changing methods by which English students read and consume literary and screen texts. The volume is structured to appeal to both those who are considering teaching adaptations for the first time as well as those who are familiar with key perspectives in adaptation criticism.

Resumen: El escritor cretense Nikos Kazantzakis mantuvo a lo largo de su vida un continuo interés en la figura de Cristo, lo que también tuvo su plasmación en su carrera literaria. Una de sus obras principales, la novela La última tentación, abordaba de una manera moderna y heterodoxa los hechos de la vida de Jesús de Nazaret, generando gran polémica en múltiples sectores de diversas religiones. Tiempo después el director de cine estadounidense Martin Scorsese debió afrontar numerosos problemas y retrasos para adaptar la novela a la gran pantalla. Y, cuando finalmente consiguió estrenar La última tentación de Cristo, la polémica también lo alcanzó a él y a su película, aunque el paso del tiempo ha ido relajando unas reacciones más fanáticas que reflexionadas. Palabras clave: adaptación cinematográfica, Martin Scorsese, Nikos Kazantzakis, Cristo, religión, polémica.
Abstract: The Cretan writer Nikos Kazantzakis had a continuous lifelong interest in the figure of Christ, which also had an influence on his literary career. One of his principal works, the novel The Last Temptation, was a modern and heterodox approach to the facts surrounding the life of Jesus of Nazareth's, generating massive controversy in many sections of the world's religions. Later, the American film director Martin Scorsese faced many problems and schedule delays while trying to adapt the novel for the big screen. And when he finally completed The Last Temptation of Christ, the controversy extended to him and his movie, though the passing of time has eased reactions that were more fanatical than considered.

This article traces depictions of the character Njai Dasima, created by G. Francis for his novel Tjerita Njai Dasima ('The Story of Njai Dasima', 1896), through Indonesian cinematic history. It examines four feature film portrayals of her—Njai Dasima (1929/1930), Njai Dasima (1932), Dasima (1940), and Samiun dan Dasima ('Samiun and Dasima', 1971)—, all of which were influenced by phenomena in contemporary society. The first two adaptations, produced during the height of the colonial period, depicted Dasima as a happy colonial subject who suffers after being waylaid by magic and deceit. In the 1940 "modern" version of the story, meanwhile, Dasima was transformed from the njai of a European into the assertive wife of an educated indigenous man, minimising the colonial context while simultaneously commenting on the importance of maintaining Eastern values. In the 1971 adaptation, produced following the fall of the Dutch colonial government and the dominance of Indonesian nationalism, the character again became a metonym for the colonial subject, but in this instance suffered because of her ties to colonialism.

Following the recent serial adaptation of Richard Adams’ novel Watership Down (1972), this paper will undertake a comparison of various serial and cinematographic adaptations, including the 1978 movie directed by Martin Rosen, the 1999-2001 TV series also produced by Rosen, and, of course, the latest production by Netflix and BBC (2018). Comparisons will be drawn with the original novel, as well as other audiovisual and literary media. By comparing these cultural productions, I will try to explore the purpose, the degree of fidelity to the original text, and public reception of each adaptation, touching upon such issues as genre and myth, intertextuality and adaptation theory, reception and the double address.
How does the initial medium, be it the original novel or the very first screen adaptation, influence perceptions of adaptations to follow? In what ways do the new adaptations engage with critical responses addressed to the previous adaptations (especially with the claims of the 1978 movie being ‘too dark’ for a younger audience)? How does each new adaptation embrace and reflect the contemporary ideologies (for example, stronger environmental message, female focus, etc)? How does the musical score contribute to the atmosphere of the adaptation? What is the role of the merchandise ‘spin-offs’ (film picture books and other products)? These questions, among others, will help us to understand the complex journey of Watership Down from pages to the screen and back.
From my own experience as a translator of the new miniseries, I will also briefly dwell on the role of translation strategies and previous translations of the source novel in the process of cultural adaptation.

“Adapting Children’s and Young Adult Novels into Anglophone TV Series” Conference, Université de Rouen Normandie (5–6 September 2019).

Keynote Speakers: Helen WHEATLEY (University of Warwick)
Claudia NELSON & Anne MOREY (Texas A&M University)

Les multiples facettes de Watership Down, récit d’une enfance qui s'en va
Suite à la nouvelle adaptation à l’écran du roman de Richard Adams Watership Down (1972 - trad. française (1976), “Les garennes de Watership Down”), la présente contribution  se propose d'en comparer les différentes versions cinématographiques et télévisées, à savoir le film réalisé en 1978 par Martin Rosen, la série télévisée également produite par Rosen de 1999 à 2001, et, cela va de soi, les productions en cours réalisées par Netflix et BBC depuis 2018. Nous en établirons les rapports avec le roman original, ainsi qu'avec d'autres interprétations audiovisuelles et littéraires. En confrontant ces réalisations culturelles, nous nous efforcerons d'en examiner les objectifs, la fidélité au texte original et l’accueil réservé à chacune, en abordant des questions telles que le genre et le mythe, en passant par l'intertextualité et la théorie de l'adaptation, ou encore la réception et la double adresse.

Comment l’œuvre initiale, qu'il s'agisse du roman original ou de la toute première adaptation au cinéma, influence-t-elle la perception des adaptations ultérieures ? En quoi chaque nouvelle adaptation apporte-t-elle des réponses constructives à celles qui l’ont précédée - surtout les affirmations selon lesquelles le film de 1978 est « trop noir » pour le public des jeunes ? Dans quelle mesure les différentes adaptations épousent-elle des idéologies qui lui sont contemporaines (message environnemental plus marqué, orientation plus féminine...) ? Comment la bande sonore contribue-t-elle à créer l’ambiance particulière de l'adaptation ? Quel est le rôle des produits dérivés, dont les livres d'images de film ? Ces questions, parmi d’autres, nous permettront de comprendre le parcours complexe de Watership Down, de l’écrit à l'écran et inversement.

Nous fondant sur notre propre expérience de traductrice de la nouvelle mini-série, nous reviendrons rapidement sur le rôle des stratégies de traduction et des traductions antérieures du roman source dans l'optique d'une adaptation culturelle.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L’archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d’enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. The Hound of the Baskervilles Revisited: Adaptation in Context Christophe Gelly, Arthur Doyle

In the digital age it has become almost impossible to view children's texts outside the context of the new media. This study will focus on three works of children's fiction, The Tale of Peter Rabbit by Beatrix Potter, Where the Wild Things Are by Maurice Sendak, and Fantastic Beasts and Where to Find Them by Newt Scamander/J.K. Rowling; and their respective adaptations, Peter Rabbit, Where the Wild Things Are, and Fantastic Beasts and Where to Find Them. The article draws on contemporary theories of adaptation and the media, particularly the theory of 'convergence' and its impact on meaning-making in the production and reception of literary texts. It will take into account the cross-media and transmedia approach to analysing children's texts, as well as the crossover effect of adapting children's books into films. Particular attention is paid to the adaptation of still into moving imagery and its shifts in focalisation, providing evidence that the new media have made children's books accessible to a variety of audiences. Such examples display the contemporary complexity of children's storytelling and culture within and beyond the canon. Owing to the developments in digital media and technologies, which enable the realistic depiction of complex visual and fantastic elements that are characteristic of children's texts, in the new millennium children's literature has indeed become "everyone's business".

Les novellisations des magazines spécialisés forment le continent oublié de l’histoire culturelle du cinéma, malgré la précocité avec laquelle ce type de presse à grand tirage s’est tourné vers les adaptations romancées de films, l’intensité des circulations médiatiques dont elles témoignent et la longévité des publications qui leur étaient dédiées : un périodique comme Le Film complet, principalement lu par un public jeune, féminin et de classe moyenne, a publié pas moins de 3297 numéros entre 1922 et 1958, chacun d’entre eux proposant a minima un récit de 10-15 pages agrémenté de photographies. Leur étude pose certes des difficultés, liées à l’absence d’archives d’entreprises de presse, au manque d’informations sur les auteur·e·s des récits et leurs publics, ainsi qu’à la disparition des films. Les « films racontés » n’en constituent pas moins une trace précieuse et significative des modes de diffusion et de consommation du loisir cinématographique avant les années 1960, comme l’ont montré les travaux ayant esquissé l’étude de cet objet.
Notre article prolonge et approfondit l’examen de cette source au regard de l’histoire des publics et de la réception, à partir de l’étude de cas des novellisations publiées dans Le Film complet dans les années 1950. Il est en effet possible d’étudier la production et les usages de ces textes médiatiques, en tant que pratiques éditoriales et cinéphiliques, en les mettant en relation avec les discours tenus sur eux dans le courrier des lecteurs du magazine, aussi bien par le journaliste chargé de modérer les échanges, qui est également un auteur de récits, que par les lecteur·rice·s.

The essays collected in this book focus on unusual relations and marginal objects, with the purpose to draw a portrait of Luchino Visconti less fossilized than that resulting from canonical authorial perspectives, and more vividly connected to both ideological clashes and the secular interests of cultural industry. These ten essays (five of which previously unpublished) cover neglected aspects (and the reasons of their removal) surfacing in sometimes extravagant aesthetic contrasts (between Hollywood and Thomas Mann, Greek theater and avant-garde, political commitment and popular cinema); in harmonies and dissonances in the collaborations with Marcello Mastroianni, Nino Rota and Helmut Berger; in the often gross comments of the extreme right-wing press; in the hostility of the Venice Film Festival; in the distortions produced by the lens of popular culture through political or even porn parodies, post-1968 ironies, and unexpected affinities with popular genres. What come out are new readings of films such as "White Nights", "Rocco and His Brothers", “Sandra", “Ludwig" and "Conversation Piece", but also a general revision of Visconti’s career.

Shakespeare’s plays have been adapted for the cinema since 1899 in multiple film genres, including silent film, film noire, Western, theatrical film, and Hollywood films.
    This course examines Shakespeare’s  romance play, histories, tragedies, and comedies, including the lesser-known plays, and their adaptations on screen, with a focus on the themes of race, gender, sexuality, and colonialism.

PLAYS & FILMS

• Love’s Labour’s Lost (comedy; Branagh)
• King John (history; Dickson & Dando, 1899)
• Henry V (history; Olivier; Branagh)
• A Midsummer Night’s Dream (comedy;
Hoffman; Reinhaardt; Taymor)
• Titus Andronicus (tragedy; Taymor)
• Othello (tragedy; Oliver Parker; Pier Paolo
Pasolini)
• Richard III (history; Richard Loncraine)
• Winter’s Tale (romance; Howell; Rohmer)

http://www.thepress.purdue.edu/titles/format/9781612490298

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What is entailed in the cultural practice of screening, in both senses of the verb, Shakespeare in transnational audio-visual idioms in the modern times? The past decades have witnessed diverse incarnations and bold sequences of screen and stage Shakespeares that gave rise to productive encounters between the ideas of Asia and of Shakespeare. Kurosawa's Throne of Blood (Macbeth, 1957) and Ran (Lear, 1985) are far from the earliest or the only Shakespeare films from Asia; around the time Asta Nielsen's cross-dressed Hamlet (1921) was filmed, gender-bender silent film adaptations of The Merchant of Venice and Two Gentlemen of Verona were being made in Shanghai. In the other direction, Hollywood and the global economy in general have brought Asian cultures forcefully into the Western cultural register, as evidenced by the mediation and reception of Shakespeare and world cultures on screens big and small, including silent film, television, feature film, documentary, and such media as online games, anime, and YouTube. Two prominent examples are Kenneth Branagh's As You Like It (2006), set in Japan, and the appropriation of eastern spirituality in Thich Nah Han's scene in Michael Almereyda's Hamlet (2000). In both directions of the intercultural traffic, Asian audio-visual idioms have been appropriated along with Shakespeare's text on stage and on screen. Therefore, we need to ask: On what terms do transnational Shakespeares animate and redirect the traffic between different geo-cultural or virtual localities? In turn, how do the collaborative processes of signification operate as local stagings of Shakespeare and global locales?

Many years after queer and queer-of-color theories made such a binary indefensible, art history and film studies remain committed to a distinction between criticality and pleasure. The former remains a desirable activist strategy and the atter is deemed banal, complicit, and expendable. Many have troubled these reductive categories. Eve Kosofsky Sedgwick, for instance, proposes reparative reading and the ongoing necessity for marginalized subjects to connect meaning- fully and perhaps unexpectedly with problematic cultural phenomena. In a similar vein, C. Namwali Serpell has suggested the numerous (and pleasurable) critical possibilities in something as debased and thrilling as the cliché.

Audiences for blockbuster event-film sequels and adaptations often formulate highly developed expectations, motivations, understandings and opinions well before the films are released. A range of intertextual and paratextual influences inform these audience prefigurations, and are believed to frame subsequent audience engagement and response. In our study of prefigurative engagements with Peter Jackson's 2012 film, The Hobbit: An Unexpected Journey, we used Q methodology to identify five distinct subjective orientations within the film's global audience. As this paper illustrates, each group privileges a different set of extratextual referents - notably J.R.R. Tolkien's original novels, Peter Jackson's The Lord of The Rings film trilogy, highly localised political debates relating to the film's production, and the previous associations of the film's various stars. These interpretive frames, we suggest, competed for ascendancy within public and private discour...

Post-Soviet era directors have been searching for the new aesthetic footholds in the images of Gogol’s works. Starting from pure satire denouncing the pre-revolutionary system, they have moved on to the absurdist grotesque. This was significantly influenced by the discoveries of Gogol scholars in the 1990s–2000s and the actualization of the interpretations of Gogol’s works created at the turn of the 19th–20th centuries, which were inconceivable for Soviet literary criticism Screen adaptations have been affected both directly—by theatrical productions of Gogol’s oeuvre, and indirectly—by a long tradition of stage appeals and directors’ decisions on his stories. The transfer of Gogol’s dramaturgy into the 21st century gave film directors and screenwriters the opportunity to maximize the relevance and social sensitivity of the plots. In the 21st century, the theme of an inspection as an image of the Last Judgment has been transformed into a semblance of a police detective. Most of the characters are related to the police or special services, to investigations, to real retribution. While for Gogol the idea of judgement lies in the moral plane, in post-Soviet interpretations it is usually associated with earthly requital, and an extremely explicit one, tailored to a crime TV series audience. Against such a background, Grigory Konstantinopolsky’s film adaptation of Dead Souls summarizes a decade of Gogol film interpretations. The story of Chichikov blatantly accumulates and travesties the previous tradition of presenting Gogol’s detective plots. The film actualizes the issue of a positive hero, the problem of memory transformation, and cinema’s responsibility to the society in the period of
losing its literature-centeredness. The transformation of the spiritual and intimate life of Gogol’s contemporaries, which was the most important theme for the writer, was also updated in a number of motifs: the lack of foundations for understanding between loving people (Marriage, 2009), the displacement of traditional gender roles (Happy Ending, 2010), the privatization of national memory, and summing up the unformed aesthetics of the new Russian cinema by the “lost generation” of the ‘90s (Dead Souls, 2020).
Режиссеры постсоветской эпохи искали новые эстетические опоры в образности Гоголя, переходя от чистой сатиры с обличением дореволюционной системы к абсурдистскому гротеску. Значительное влияние на это оказали гоголеведческие открытия 1990-х–2000-х гг. и актуализация трактовок творчества Гоголя рубежа ХIХ–ХХ вв., неприемлемых в советском литературоведении. Экранизации испытали как непосредственное влияние театральных постановок («Ревизор» Сергея Газарова), так и опосредованное — сложившейся к этому времени традиции сценических решений гоголевских сюжетов. Перенесение драматургии Гоголя на экран в ХХI в. дало режиссерам и сценаристам возможность максимальной актуализации и социальной заостренности сюжетов. Тема ревизии как образа Страшного суда в ХХI в. трансформировалась в подобие полицейского детектива. Большинство героев экранизаций в результате сценарной реинтерпретации оказывалось связано с полицией / спецслужбами, следствием, расследованием, с реальным возмездием. В постсоветских трактовках идея суда, лежащая для Гоголя в моральной плоскости, связывается с проблемой земного возмездия и возмездия предельно конкретного, рассчитанного на зрителя криминальных сериалов. На этом фоне итоговая для десятилетия кинопрочтений экранизация «Мертвых душ» Г. Константинопольского откровенно аккумулирует и травестирует предшествующую традицию представления гоголевских детективных сюжетов. Фильм актуализирует вопрос о положительном герое, проблеме трансформации памяти, ответственности кино перед обществом в период утраты литературоцентризма. Важнейшая для Гоголя тема неполноценности духовной жизни современника, его тотального одиночества также оказалась актуализирована в целом ряде мотивов, таких как: отсутствие основ для взаимопонимания любящих людей («Женитьба», 2009), смещение традиционных гендерных ролей («Счастливый конец», 2010), приватизация национальной памяти и подведение итогов неоформившейся эстетики нового русского кино «потерянным поколением» 1990-х («Мертвые души», 2020).

Dans les rues embrumées du Havre industriel, Jean, déserteur de la Coloniale, erre en compagnie de son mal-être. Sa rencontre avec la belle Nelly, dans une cabane isolée aux allures de décor fantomatique, précipite son destin tragique. Adaptation d’un roman de Pierre Mac Orlan, témoin des angoisses de l’avant-guerre, classique du film noir, Le Quai des brumes, réalisé en 1938 par Marcel Carné et scénarisé par Jacques Prévert, est une oeuvre mythique du cinéma français. Un film à la beauté sombre et envoûtante, porté par des interprètes de légende : Jean Gabin, Michèle Morgan, Michel Simon et Pierre Brasseur.
En s’appuyant notamment sur une analyse inédite des différentes versions du scénario comme de la correspondance de Carné et Prévert, Thomas Pillard apporte un nouvel éclairage sur la réalisation à flux tendu, la richesse et les complexités esthétiques, sociales et politiques de ce film au succès inattendu, qui troubla la censure autant qu’il divisa la critique.

This article provides a stylistic examination of Sidney Lumet's thriller Deathtrap (1982), analyzing how its strategies of staging and performance generate narrational effects of suspense and surprise. It argues that Lumet anchors these performative strategies to a broad authorial program grounded in expressive subtlety; as such, Lumet's film reminds us of a waning tradition of US filmmaking in which stylistic ingenuity resides at the denotative and expressive (rather than the decorative or parametric) levels of stylistic discourse. The article treats Lumet's stylistic choices as creative solutions to a distinctive set of aesthetic problems. It canvasses-and identifies the functions of-the motivic staging schemas patterned throughout Deathtrap; and it illuminates how these schemas, actuated by star players, shape the viewer's cognitive uptake in substantive ways.

Percy Jackson and the Olympians is a book series, which is based on Greek mythology, written by Rick Riordan. The first book of the series "Percy Jackson and the Olympians: The Lightning Thief" is about adventures of twelve year old trouble kid who learns one of his parents is a Greek god, so he is a demigod. The book had a huge number of fans as soon as it was published in 2005. So in 2010 when the movie adaptation of the first book "Percy Jackson and the Olympians: The Lightning Thief" was released, all Percy Jackson fans had been waiting for it. Unfortunately contrary to expectations, the movie version wasn't liked. The fans signified three main reasons for why they didn't like it. First of all they didn't like the cast of the film. In the book, Percy Jackson and his friends are about twelve years old, but the characters played by actors and actresses were in their 20's. Also one of the main characters of book series, Annabeth has got blonde hair and grey eyes, whereas Alexdra Daddario as movie version of Annabeth has got dark brown hair and blue eyes. Another aspect of why movie version wasn't popular as much as the book is story adaptation. Scriptwriters of the movie preferred changing the original story in addition to shortened it for the movie, so the fans of the Percy Jackson series that have read the first book at least two or three times couldn't see the scenes which they are looking forward to seeing on the wide screen. For example; one of the most important "Percabeth" moments which was expected to see by fans on the screen, Percy and Annabeth's meeting scene and Annabeth's popular quote "You droll when you sleep!" was deleted like some other scenes and quotes. The most important irritating thing about story is adding some irrelevant scenes to movie just like pearl hunting. For example, even though three pearls are given to Percy by a nereid (river spirits in Greek mythology) in the book; Percy, Annabeth and Grover have to find these pearls one by one from another magical places in the movie. Finally the film wasn't liked because of its decors. Camp Half-blood in the movie was a completely disappointment for the fans as they wanted to see a camp like descripted in the book, close to their imagination. In the book each of the twelve Olympians has glorious cabins in the Camp Half-blood which represent their power and abilities. However in the movie, instead of these glorious cabins there were buildings like a tent. All in all, there are lots of differences between the book version and the movie version of Percy Jackson and the Olympians: The Lightning Thief, and because of these differences almost all the fans of Percy Jackson and the Olympians series didn't like the movie version. They mentioned that they prefer the Rick Riordan's original story.

Opracowanie zostało opublikowane w 2016 r., a więc nie mogło być w nim wzmianki o filmie, którego premiera planowana jest na 2020 r. Oczywiście chętnie napiszę także o nowej wersji, w której Stanisława Kaczyńskiego gra odtwórca roli Ragnara z "Wikingów". Jestem także otwarty na propozycje i zaproszenia.

PALABRAS CLAVE: Homeland, Sully, Clint Eastwood, locura, compromiso,
héroe

Mediante el análisis de algunas escenas seleccionadas del último capítulo de la sexta temporada de Homeland y de la película Sully, reflexiono sobre el origen etimológico del término “compromiso” y su relación con la figura del héroe. ¿Son ámbitos diferenciados, irreconciliables o, en momentos determinados, él héroe puede lidiar con cierta locura que implicaría la realización del acto heroico, de un compromiso con su sociedad?.

KEYWORDS: Homeland, Sully, Clint Eastwood, madness, engagement, hero

Through the analysis of selected scenes from the last chapter of Homeland's sixth season and the film Sully, I reflect on the etymological origin of the term “commitment” and its relation to the hero‟s character. Do they belong to different or irreconcilable areas, or at certain moments, can the hero deal with a certain madness that would imply the accomplishment of the heroic act, of a commitment to his/her society?.

Part of a larger, forthcoming project on screen adaptations of novels that have won or been short-listed for the Booker Prize for Fiction, this paper focuses in particular on director Ang Lee’s 2012 adaptation of Yann Martel’s 2002 Booker-winner Life of Pi. With reference to recent developments in adaptation studies – and, in particular, to critical movements away from treating 'source material' for adaptations as ‘original’ and adaptations themselves as derivative and inferior, and towards understanding the relationship between adapted texts and adaptations as intertextual – it argues that Lee’s film playfully subverts notions of “originality” by casting the novel on which it is based as the adaptation rather than as the adapted text. Moreover, it argues that Lee’s film is one of a number of recent, prominent screen adaptations of 'well-loved novels' to take such an approach, and that such works encourage us to consider the relationship between adapted texts and adaptations as intertextual.