Chapter One: IntroductionThe purpose of this thesis is to explore the field of literary adaptation within a literature/ film context with a view to answering the question of whether the critical stance taken against the adaptive process can withstand scrutiny in light of the operational practices at work within both industries. This introduction serves to provide an outline of this stance and identifies some of the most prominent reactions to adaptation. In order to provide some context and contrast
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‘To live is to be photographed’ (Sontag‚ 2004). Does photography have a special role in the mediation of our lives‚ and how‚ according to Sontag‚ is this role changing? INTRODUCTION Attempting to comprehend the role of photography in the mediation of our lives would have to account‚ apart from historical evidence‚ an understanding of the importance and the necessity of the photograph in every day life. In a society that is constantly bombarded by images from different mediums
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The controversy surrounding Leni Riefenstahl’s films has been an ongoing historical debate since the outbreak of World War II. Labelled as ‘purely and simply Nazi propaganda’ Riefenstahl’s work was the cornerstone of Nazi Germany’s media regime. Riefenstahl argues however that her intent was simply to produce art. Whilst the films’ value as promoting the Nazi regime is undeniable it can be questioned whether or not they are entirely propaganda or if they hold more‚ artistic value. Born in Berlin
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The Power of Film Living in a society where media permeates every realm of our lives‚ one can see the importance of film in the modern world. Often times‚ we only see films as source of entertainment‚ or an escape from reality. But sometimes‚ films can tell a story of reality in a way that makes you open your eyes to a world unbeknownst to you prior watching the film. A film can disseminate information faster and broader‚ thus‚ a wider audience is able to be educated about certain issues and
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Textual Analysis and Genres Auteur theory holds that a director’s film reflects the director’s personal creative vision‚ as if they were the primary "auteur" the French word for author. In spite of—and sometimes even because of—the production of the film as part of an industrial process‚ the auteur’s creative voice is distinct enough to shine through all kinds of studio interference and through the collective process. In law‚ the film is treated as a work of art‚ and the auteur‚ as the creator
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Title:The pathos of the unconscious: Charlie Chaplin & dreams Author(s):David J. Lemaster Source:Journal of Popular Film and Television. 25.3 (Fall 1997): p110. From General OneFile. Document Type:Critical essay DOI:http://dx.doi.org/10.1080/01956059709602757 Full Text: COPYRIGHT 1997 Taylor & Francis Ltd. http://heldref.metapress.com/app/home/journal.asp?referrer=parent&backto=browsepublicationsresults‚30‚48; Full Text: [ILLUSTRATION OMITTED] The recent reemergence of Charlie Chaplin into
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commonly applied to film directors who portray a personal and unique theme or focus element displayed in most of his movies. Auteur theory first originated in a French film magazine discovered by well respected French film critic and theorist‚ Andre Bazin‚ together with other film critics‚ such as Jacques Doniol and Joseph-Marie Lo Duca. You can call it a signature style for these types of directors‚ because they bring their own personal trait to the audience. Therefore‚ they are considered to be an
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Wall color‚ ceiling heights‚ and lighting are also a way to form museums as a ritual site by contributing to the interior design of isolating artwork. Duncan states Germain Bazins’ insights on modern installations form museums as a ritual site by placing statues in isolation‚ placing paintings apart‚ and having only one object at a time appear in the line of vision (19-20)‚ which I completely agree with based on my experience
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own‚ and so on. The dichotomy though is only apparent. The over-all effect created by Truffaut shows Jules et Jim belonging more comfortably in the expressionistic domain; and‚ as we shall discover‚ devices which would normally—at least according to Bazin—deliver the effect of realism are utilised by Truffaut as tools of expressionism. In our analysis of Jules et Jim‚ rather than examine fleetingly the whole gamut of expressionistic techniques‚ we shall instead explore in some detail the more important
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Vittorio De Sica’s The Bicycle Thieves is a simple story set amidst a post-war Rome. It is a neorealist film characterized by setting the story amongst the poor and working class. The film surrounds the difficult economical and moral conditions of post WWII Italy‚ reflecting the conditions of everyday life: Poverty and desperation‚ with the implicit message that in a better society‚ wealth would be more evenly distributed. The plot is simple‚ surrounding a man‚ his son and a bicycle. The film tells
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