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Drammaturgia è un sito scientifico che affronta tematiche legate al mondo del cinema, del teatro, della danza e della musica e viene aggiornato costantemente con nuovi interventi, segnalazioni e recensioni delle più interessanti pubblicazioni del settore. Il sito, pubblicato con il contributo del Corso di Laurea in Progettazione e Gestione di Eventi e Imprese dell'Arte e dello Spettacolo, è riconosciuto come pubblicazione di alto valore culturale dal Ministero dei Beni artistici e culturali.
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"(Re)Writing Without Borders: Contemporary Intermedial Perspectives on Literature and the Visual Arts gathers twelve essays capturing the most up-to-date interaction between literature and the visual arts from an interdisciplinary perspective"--
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Lo común es que hoy nadie menor de treinta años pueda evocar la primera imagen de televisión que recuerda por el simple hecho de que se es espectador de televisión desde los primeros meses de edad. Antes de que cuaje la caliza de la memoria, la impronta de la televisión queda marcada en esa materia que conforma luego el manantial de toda imaginaciόn. La propia inteligencia no se entiende a si misma sin ese material que es parte del sistema de aproximación al mundo. Del mismo modo que la arqueología va sacando a flote siglos y milenios del paso de los humanos por la tierra, el recuerdo quiere sacar de ese tiempo de su primera edad que no puede medirse las explicaciones del mecanismo con que percibimos el mundo, pero hay cosas que no fueron aprendizaje porque no había conciencia sino experiencia pura. Hay que sacarlo entonces de la imaginaciόn.Como me ocurre con el cine; porque debo haber sido llevado con frecuencia antes de lo que puedo recordar. Por más que trato de concentrarme pa.
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L’adaptation filmique a toujours été essentielle au septième art, qu’il s’agisse du recours aux textes littéraires classiques utilisés dès les premiers films pour donner au nouveau média une aura de respectabilité, de l’utilisation des romans noirs pour populariser la cinématographie des expressionnistes allemands, ou de la pratique actuelle d’adaptations visant à capter un public déjà acquis (par exemple les adeptes des romans de Jane Austen, ou de best-sellers comme Twilight ou des jeux vidéo comme Doom). Toutefois, l’adaptation a souvent été dénigrée : les amateurs des textes-sources déplorent le manque de fidélité du film, alors que les adeptes d’un cinéma « pur » regrettent que ce souci de fidélité aboutisse à un film « littéraire » qui n’explore pas ses possibilités proprement filmiques. Au-delà de ces clivages, cet ouvrage cherche à présenter les enjeux du phénomène : il réunit quinze spécialistes qui traitent des différents aspects de l’adaptation : ses raisons économiques, sa problématisation de la théorie de l’auteur chère à la Nouvelle Vague, et surtout, ce que l’étude comparative du texte et son image peuvent s’apporter mutuellement en termes de supplément de sens. Le livre se conclut avec trois articles qui proposent une méthodologie de l’étude de l’adaptation, incitant le lecteur à son tour à se livrer à des études d’adaptations.
Motion pictures and literature --- Film Radio Television --- cinéma --- adaptation --- littérature et cinéma
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Is theater really dead? Does the theater, as its champions insist, really provide a more intimate experience than film? If so, how have changes in cinematic techniques and technologies altered the relationship between stage and film? What are the inherent limitations of representing three-dimensional spaces in a two-dimensional one, and vice versa? American Drama in the Age of Film examines the strengths and weaknesses of both the dramatic and cinematic arts to confront the standard arguments in the film-versus-theater debate. Using widely known adaptation
Theater and society --- Motion pictures and literature --- American drama --- Theater --- American literature --- History --- History and criticism.
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A lucid and straightforward analysis that argues that film and literature are not the entirely different, antithetical disciplines they have been and are widely held to be. Mr. Richardson shows clearly the relationship of film to literature, outlining differences as well as similarities, and common goals as well as divergent aims appropriate to the two arts. He demonstrates how each form and its associated criticism is frequently able to illuminate and enliven the other. A film consciousness sharpens the reader's alertness to the visual and aural qualities that mark much great writing, and literary training, in turn, adds depth and perspective to appreciation of film. The author goes on to present some of the literary influences that have affected film during its development, and discusses the impact of film on modern literature. He concludes with an extended exploration of the relationship of film to poetry, suggesting that while the two forms use similar techniques, film has dealt more significantly with the problem of how to find a humane, noncoercive order in life.
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"Lively analysis of how Henry James's fiction anticipates later filmmakers' concerns with what we can see and what we can know"--
Motion pictures and literature. --- Visual perception in literature. --- James, Henry, --- Technique.
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Literature and Film is a superb collection of vibrant essays that chart the history and confluence of literature and film. Bringing together the very latest scholarship in the field, this guide contains astute and readable contributions – both theoretical and thematic – on the translation of literary into filmic texts.Subjects range from established classics including The Last of the Mohicans, through consecrated genre works like Cape Fear, to contemporary classics such as The English Patient and Beloved. Almost all of the essays are originals, especially composed for this volume, and written by leading international scholars on both literature and film. The book features an ambitious introductory essay tracing the theory and practice of adaptation, providing the ideal entry point for students or scholars exploring this dynamic and multifaceted field.
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