Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Film

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Film

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This book gathers together essays written by leading scholars of adaptation studies to explore the full range of practices and issues currently of concern in the field. The chapters demonstrate how content and messaging are shared across an increasing number of platforms, whose interrelationships have become as intriguing as they are complex. Recognizing that a signature feature of contemporary culture is the convergence of different forms of media, the contributors of this book argue that adaptation studies has emerged as a key discipline that, unlike traditional literary and art criticism, is capable of identifying and analyzing the relations between source texts and adaptations created from them. Adaptation scholars have come to understand that these relations not only play out in individual case histories but are also institutional, and this collection shows how adaptation plays a key role in the functioning of cinema, television, art, and print media. The volume is essential reading for all those interested both in adaptation studies and also in the complex forms of intermediality that define contemporary culture in the 21st century.

Art --- Film --- film --- kunst

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This volume re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined ‘extreme cinema’. In Genre Trouble and Extreme Cinema, Bordun argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand our generic classifications. Through the re-organization of the visual presentation of genre-specific clichés and devices, their films transform sense experience and thought. Bordun contends that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them in both personal and experiential terms. In fostering this experience of collection, these two directors propose a kind of ethics of curatorship: spectators are tasked with collecting and recollecting their film experience to generate particular social, cultural, and political critiques. The author deploys contemporary film theories on the senses, both phenomenological and affect theory, and partakes in close readings of the films’ forms and narratives. The book thus adds to the present literature on extreme cinema and film theory, yet sets itself apart by fully deploying genre theory alongside the methodological and stylistic approaches of Stanley Cavell. .

Art --- Film --- film --- kunst

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Film --- Antwerp