By Deborah Cartmell
It is a finished choice of unique essays that discover the aesthetics, economics, and mechanics of motion picture version, from the times of silent cinema to modern franchise phenomena. that includes a number theoretical techniques, and chapters at the ancient, ideological and fiscal features of variation, the quantity displays today’s recognition of intertextuality as an essential and innovative cultural force.
* comprises new study in version stories* encompasses a bankruptcy at the Harry Potter franchise, in addition to different modern views* Showcases paintings by means of top Shakespeare variation students* Explores attention-grabbing themes equivalent to ‘unfilmable’ texts* comprises designated concerns of Ian McEwan’s Atonement and Conrad’s Heart of Darkness
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Additional resources for A Companion to Literature, Film and Adaptation
1997 Miyazaki Hayao’s Princess Mononoke (Mononoke-hime) becomes the highest-grossing movie ever released in Japan, until it is overtaken by James Cameron’s Titanic several months later. Imamura Shôhei is awarded the Palme D’or at the Cannes Film Festival for the second time, for the The Eel (Unagi). Kawase Naomi wins the Caméra d’Or at the same festival, for Suzaku (Moe no Suzaku). At the Venice Film Festival, Kitano Takeshi’s Fireworks (Hana-bi) wins the Golden Lion Award. 11 July: Suô Masayuki’s Shall xxxviii • Chronology We Dance?
Any study of genre in Japan must take into account that such staples as the popular action-driven samurai films known as chanbara (swordplay movies) 8 • Introduction or yakuza movies were not simply transposed from Hollywood Westerns or crime movies, although there certainly may have been foreign influences. The solitary masterless samurai, or rônin, who wanders about from town to town protecting local folk from injustice and feudal oppression certainly has its parallels with the lone outlaw of the Western movie and played as significant a role in Japan’s cinema in articulating concerns about individuality versus group identity and the dangers of authoritarianism as its counterpart did in America.
Again, this style of film, known as shomin-geki, or “common people’s dramas,” is too broad to be considered a genre as such, encompassing both melodramatic and comedic styles and subject matter, but it was not long until certain scenarios and plot elements became codified, refined, and hybridized to create various new subgenres, such as home dramas, sports movies, college romances, and salaryman comedies. The stylistic developments in the gendai-geki field also worked their way into jidai-geki titles such as Itô Daisuke’s Chuji’s Travel Diary: Bloody Smile in Shinshu (Chûji tabi nikki: Shinshû kessho-hen, 1927) and Man-Slashing, Horse-Piercing Sword (Zanjin zamba ken, 1929).