The Writer on Film

Screening Literary Authorship
Herausgegeben:Buchanan, J.

• Broschiertes Buch

Produktbeschreibung

Examining films about writers and acts of writing, The Writer on Film brilliantly refreshes some of the well-worn 'adaptation' debates by inviting film and literature to engage with each other trenchantly and anew - through acts of explicit configuration not adaptation.

Produktdetails

• Verlag: Palgrave Macmillan / Palgrave Macmillan UK / Springer Palgrave Macmillan
• Artikelnr. des Verlages: 978-1-349-33934-1
• 1st ed. 2013
• Seitenzahl: 288
• Erscheinungstermin: 1. Januar 2013
• Englisch
• Abmessung: 216mm x 140mm x 16mm
• Gewicht: 365g
• ISBN-13: 9781349339341
• ISBN-10: 1349339342
• Artikelnr.: 45078131

Autorenporträt

Judith Buchanan, University of York, UK Laura Marcus, University of Oxford, UK Sonia Haiduc, University of Barcelona, Spain Sian Harris, University of Exeter, UK Julian North, University of Leicester, UK Megan Murray-Pepper, King's College, UK Andrew Higson, University of York, UK Geoffrey Wall, University of York, UK R. Barton Palmer, Clemson University, USA Deborah Cartmell, De Montfort University, UK Gennelle Smith, Freelance Creator of Interactive Media, UK Richard Burt, University of Florida, USA Clara Rowland, University of Lisbon, Portugal Erica Sheen, University of York, UK

Inhaltsangabe

Introduction; Judith Buchanan PART I: CINEMA'S VERSIONS AND USES OF LITERACY LIVES 1. Authorship, Imagination and the Cinema; Laura Marcus 2. Gendered Authorship I: the Female Writer. Here is the Story of my Career...: the Woman Writer on Film; Sonia Haiduc 3. Gendered Authorship II: the Male Writer. Mad, Bad and Dangerous to Know: Screening Authorial Masculinity in Sylvia (2003) and The Edge of Love (2008); Sian Harris 4. Romantic Authorship. Romantic Genius on Screen: Jane Campion's Bright Star (2009) and Julien Temple's Pandaemonium (2000); Julian North 5. Authorship Iconized, Metonymized, Debunked. The Tables of Memory: Shakespeare, Cinema and the Writing Desk; Megan Murray-Pepper 6. Commercialized Authorship. Brit Lit Biopics, 1990-2010; Andrew Higson 7. Literary Biopics and Literary Biographies. Visions of Authorship: a Literary Biographer's Perspective; Geoffrey Wall PART II: CINEMA'S FICTIONAL AUTHORS AND AUTHORIAL PROXIES 8. Adaptation as Encoded Authorial Biography I. Biographical Wish-Fulfilment in the Hemingway Screen Adaptations; R. Barton Palmer 9. Adaptation as Encoded Authorial Biography II. Becoming Jane in Adaptations of Austen's Fiction; Deborah Cartmell 10. Authorial Proxies. Duplicated and Duplicitous Self-configurings in Kaufman's Adaptation (2002); Gennelle Smith 11. Configuring Authorial Absence. Writing the Endings of Cinema: Evocations of Authorial Absence in the Cinematic Paratext from The Tempest to the Book of Kells ; Richard Burt 12. Fictional Writers on Screen: Letter Writers. Deliveries of Absence: Epistolary Structures in Classical Cinema; Clara Rowland 13. Fictional Writers on Screen: Diarists. Far from Literature: Writing as Bare Act in Robert Bresson's Journal d'un curé de campagne (1951); Erica Sheen 14. Fictional Writers on Screen: Playwrights and Documentarists. Documentary Li(v)es: Writing Falsehoods, Righting Wrongs in von Donnersmarck's The Lives of Others (2006); Judith Buchanan

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Introduction; Judith Buchanan PART I: CINEMA'S VERSIONS AND USES OF LITERACY LIVES 1. Authorship, Imagination and the Cinema; Laura Marcus 2. Gendered Authorship I: the Female Writer. Here is the Story of my Career…: the Woman Writer on Film; Sonia Haiduc 3. Gendered Authorship II: the Male Writer. Mad, Bad and Dangerous to Know: Screening Authorial Masculinity in Sylvia (2003) and The Edge of Love (2008); Sian Harris 4. Romantic Authorship. Romantic Genius on Screen: Jane Campion's Bright Star (2009) and Julien Temple's Pandaemonium (2000); Julian North 5. Authorship Iconized, Metonymized, Debunked. The Tables of Memory: Shakespeare, Cinema and the Writing Desk; Megan Murray-Pepper 6. Commercialized Authorship. Brit Lit Biopics, 1990-2010; Andrew Higson 7. Literary Biopics and Literary Biographies. Visions of Authorship: a Literary Biographer's Perspective; Geoffrey Wall PART II: CINEMA'S FICTIONAL AUTHORS AND AUTHORIAL PROXIES 8. Adaptation as Encoded Authorial Biography I. Biographical Wish-Fulfilment in the Hemingway Screen Adaptations; R. Barton Palmer 9. Adaptation as Encoded Authorial Biography II. Becoming Jane in Adaptations of Austen's Fiction; Deborah Cartmell 10. Authorial Proxies. Duplicated and Duplicitous Self-configurings in Kaufman's Adaptation (2002); Gennelle Smith 11. Configuring Authorial Absence. Writing the Endings of Cinema: Evocations of Authorial Absence in the Cinematic Paratext from The Tempest to the Book of Kells ; Richard Burt 12. Fictional Writers on Screen: Letter Writers. Deliveries of Absence: Epistolary Structures in Classical Cinema; Clara Rowland 13. Fictional Writers on Screen: Diarists. Far from Literature: Writing as Bare Act in Robert Bresson's Journal d'un curé de campagne (1951); Erica Sheen 14. Fictional Writers on Screen: Playwrights and Documentarists. Documentary Li(v)es: Writing Falsehoods, Righting Wrongs in von Donnersmarck's The Lives of Others (2006); Judith Buchanan