Tracks and reflects on the presence and marketing of 'words' in the early sound era, from adaptations of Shakespeare and 19th Century novels, to biopics"--
There is no disputing that the coming of sound heralded a new era for adaptations. We take it for granted today that a film is enhanced by sound but it was not a view unanimously held in the early period of sound cinema. While there was a substantial degree of skepticism in the late 1920s and early 30s about the advantages of sound, what we would call technophobia today, the inclusion of speech in screen versions of literary and theatrical works, undeniably revised what it was to be an adaptation: words. Focusing on promotional materials, Adaptations in the Sound Era tracks early attempts to promote sound through the elevation of words in adaptations in the early sound period. The popular appeal of these films clearly stands in opposition to academic regard for them and the book reflects on the presence and marketing of 'words' in a variety of adaptations, from the introduction of sound in the late 1920s to the mid 1930s. This book contextualizes a range of adaptations in relation to debates about 'picturizations' of books in the early sound era, including reactions to the talking adaptation by writers such as, Irwin Panofsky, Aldous Huxley and Graham Greene. Film adaptations of Shakespeare, Dickens, gothic fiction and biopics are also discussed in relation to their use and promotion of sound or, more precisely, words.
The study of literature on screen is a growing area of study in schools and universities. Many students have to produce critical essays comparing the novel and film versions of a particular text. The Screen Adaptations series offers a wealth of study material: from the literary context of the original work, through to thought-provoking comparisons of the screen versions, critical commentary and the afterlife of the films. Pride and Prejudice is a classic piece of literature and any new adaptation is a major event. With several well-known TV and film versions available (featuring stars such as Keira Knightley) as well as a Bollywood version, discussions around how these films interpret the story, themes and characters is a popular classroom choice for students and teachers alike. This new title in the Screen Adaptations series, provides a rich source of material to help students understand and write about the reciprocal relationship between film and literature. It offers in-depth analysis of the various screen versions and alternative `readings' as well as critical insight and an interview with writer Andrew Davies, best known for his 1995 BBC adaptation. Following from Shakespeare, Jane Austen on screen is now an established part of literary studies and the volume will conclude with a survey of the growing body of literature in the field.
Vampires are back - and this time they want to be us, not drain us. This collection considers the recent phenomena of Twilight and True Blood, as well as authors such as Kim Newman and Matt Haig, films such as The Breed and Interview with the Vampire, and television programmes such as Being Human and Buffy the Vampire Slayer.
Few lives provide as much history or drama as those of monarchs. Filmmakers from the silent era to onward have displayed a deep fascination with the lives of royalty and with queens in particular. Still, the question remains: what do these films really tell us about the women beneath the crowns? Drawing on films from the 1930s to those of today, Royal Portraits in Hollywood: Filming the Lives of Queens investigates the ways in which these films reproduce history and represent women. Though hardly progressive in nature, many early films offered an acceptable, nonthreatening way to present strong female characters in an economic and social landscape run almost exclusively by men. Authors Elizabeth Ford and Deborah Mitchell track the evolution of queens on film, noting how depictions of prominent women have changed over the past several decades and calling attention to the ways in which films both reflect and dictate the social norms of their eras. By comparing historical records of monarchs such as Queen Christina of Sweden, Catherine the Great, Cleopatra, and Elizabeth I with their onscreen personas, and examining the biographical details of the actresses who portrayed these women, Ford and Mitchell present a fascinating inquiry into issues of historical accuracy and gender politics in film.
Clinical psychologists and neuropsychologists are traditionally taught that cognition is mediated by the cortex and that subcortical brain regions mediate the coordination of movement. However, this argument can easily be challenged based upon the anatomic organization of the brain. The relationship between the prefrontal cortex/frontal lobes and basal ganglia is characterized by loops from these anterior brain regions to the striatum, the globus pallidus, and the thalamus, and then back to the frontal cortex. There is also a cerebrocerebellar system defined by projections from the cerebral cortex to the pontine nuclei, to the cerebellar cortex and deep cerebellar nuclei, to the red nucleus and then back to thalamus and cerebral cortex, including all regions of the frontal lobes. Therefore, both the cortical-striatal and cortical-cerebellar projections are anatomically defined as re-entrant systems that are obviously in a position to influence not only motor behavior, but also cognition and affect. This represents overwhelming evidence based upon neuroanatomy alone that subcortical regions play a role in cognition. The first half of this book defines the functional neuroanatomy of cortical-subcortical circuitries and establishes that since structure is related to function, what the basal ganglia and cerebellum do for movement they also do for cognition and emotion. The second half of the book examines neuropsychological assessment. Patients with lesions restricted to the cerebellum and/or basal ganglia have been described as exhibiting a variety of cognitive deficits on neuropsychological tests. Numerous investigations have demonstrated that higher-level cognitive functions such as attention, executive functioning, language, visuospatial processing, and learning and memory are affected by subcortical pathologies. There is also considerable evidence that the basal ganglia and cerebellum play a critical role in the regulation of affect and emotion. These brain regions are an integral part of the brain’s executive system. The ability to apply new methodologies clinically is essential in the evaluation of disorders with subcortical pathology, including various developmental disorders (broadly defined to include learning disorders and certain psychiatric conditions), for the purpose of gaining greater understanding of these conditions and developing appropriate methodologies for treatment. The book is organized around three sources of evidence: neuroanatomical connections; patients with various disease processes; experimental studies, including various imaging techniques. These three sources of data present compelling evidence that the basal ganglia and cerebellum are involved in cognition, affect, and emotion. The question is no longer if these subcortical regions are involved in these processes, but instead, how they are involved. The book is also organized around two basic concepts: (1) the functional neuroanatomy of the basal ganglia and the cerebellum; and (2) how this relates to behavior and neuropsychological testing. Cognitive neuroscience is entering a new era as we recognize the roles of subcortical structures in the modulation of cognition. The fields of neuropsychology, cognitive psychology, neuropsychiatry, and neurology are all developing in the direction of understanding the roles of subcortical structures in behavior. This book is informative while defining the need and direction for new paradigms and methodologies for neuropsychological assessment.
A Companion to the Brontës brings the latest literary research and theory to bear on the life, work, and legacy of the Brontë family. Includes sections on literary and critical contexts, individual texts, historical and cultural contexts, reception studies, and the family’s continuing influence Features in-depth articles written by well-known and emerging scholars from around the world Addresses topics such as the Gothic tradition, film and dramatic adaptation, psychoanalytic approaches, the influence of religion, and political and legal questions of the day – from divorce and female disinheritance, to worker reform Incorporates recent work in Marxist, feminist, post-colonial, and race and gender studies
Black Women in Sequence takes readers on a search for women of African descent in comics subculture. From the 1971 appearance of the Skywald Publications character “the Butterfly” - the first Black female superheroine in a comic book - to contemporary comic books, graphic novels, film, manga, and video gaming, a growing number of Black women are becoming producers, viewers, and subjects of sequential art. As the first detailed investigation of Black women’s participation in comic art, Black Women in Sequence examines the representation, production, and transnational circulation of women of African descent in the sequential art world. In this groundbreaking study, which includes interviews with artists and writers, Deborah Whaley suggests that the treatment of the Black female subject in sequential art says much about the place of people of African descent in national ideology in the United States and abroad. For more information visit the author's website: http://www.deborahelizabethwhaley.com/#!black-women-in-sequence/c65q
The study of literature on screen is a growing area of study in schools and universities. Many students have to produce critical essays comparing the novel and film versions of a particular text. The Screen Adaptations series offers a wealth of study material: from the literary context of the original work, through to thought-provoking comparisons of the screen versions, critical commentary and the afterlife of the films. Pride and Prejudice is a classic piece of literature and any new adaptation is a major event. With several well-known TV and film versions available (featuring stars such as Keira Knightley) as well as a Bollywood version, discussions around how these films interpret the story, themes and characters is a popular classroom choice for students and teachers alike. This new title in the Screen Adaptations series, provides a rich source of material to help students understand and write about the reciprocal relationship between film and literature. It offers in-depth analysis of the various screen versions and alternative `readings' as well as critical insight and an interview with writer Andrew Davies, best known for his 1995 BBC adaptation. Following from Shakespeare, Jane Austen on screen is now an established part of literary studies and the volume will conclude with a survey of the growing body of literature in the field.
This book explores Shakespeare films as interpretations of Shakespeare's plays as well as interpreting the place of Shakespeare on screen within the classroom and within the English curriculum. Shakespeare on screen is evaluated both in relation to the play texts and in relation to the realms of popular film culture. The book focuses on how Shakespeare is manipulated in film and television through the representation of violence, gender, sexuality, race and nationalism. Cartmell discusses a wide range of films, including Orson Welles' Othello (1952), Kenneth Branagh's Much Ado About Nothing (1993), Peter Greenaway's Prospero's Books (1991), Baz Luhrmann's William Shakespeare's Romeo and Juliet (1996) and John Madden's Shakespeare in Love (1998).
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