This collection of essays, contributed by scholars of French literature and film, explores the dynamic relationship between Zola's fiction and its film adaptations, examining critically significant cinematic adaptations of Zola's novels from a variety of interdisciplinary perspectives.
This collection of essays, contributed by scholars of French literature and film, explores the dynamic relationship between Zola's fiction and its film adaptations, examining critically significant cinematic adaptations of Zola's novels from a variety of interdisciplinary perspectives.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Anna Gural-Migdal is a professor of Comparative and Film studies at the University of Alberta in Canada. Robert Singer is a professor of English and Film studies at Kingsborough Community College, CUNY. He is the coauthor of McFarland's The Brooklyn Film: Essays in the History of Filmmaking (2003).
Inhaltsangabe
Table of Contents Acknowledgments Foreword Brigitte Émile-Zola Introduction Robert Singer 1. Antoine's Version of La Terre: An Experiment in Naturalist Cinema Russell Cousins 2. Eisenstein and Zola: Naturalism, Cinema, and Mythography Tony Williams
3. Staging the Courtesan: Taking Zola's Nana to the Movies Heather Howard
4. From Theater to Cinema: Jean Renoir's Adaptation of Nana Katherine Golsan 5. The Eye Behind the Writing Hand: Surveillance and Adaptation in La Bête humaine Monica Filimon 6. "La Rançon du progrès": Naturalistic Discourse and Two Adaptations of Zola's Au Bonheur des Dames Klaus Peter Walter 7. Viewing Au Bonheur des Dames in the Context of Occupied France Jennifer Wolter 8. Thérèse Raquin in a Fog-Covered Corner Alicja Helman 9. Ideology and Focalization in Gervaise: The Aurenchébost/René Clément Treatment Russell Cousins 10. The Female Reader in Pot-Bouille and Duvivier's Cinematic Representation Elisabeth-Christine Muelsch 11. The Fabrication of Claude Berri's Germinal Anna Gural-Migdal 12. Nostalgia Is Hard to Let Go: The French Communist Party's Reception of Claude Berri's Filmic Adaptation of Germinal Laurent Marie 13. "At the Still Point": Framing the Naturalist Moment Robert Singer Select Filmography About the Contributors Index
Table of Contents Acknowledgments Foreword Brigitte Émile-Zola Introduction Robert Singer 1. Antoine's Version of La Terre: An Experiment in Naturalist Cinema Russell Cousins 2. Eisenstein and Zola: Naturalism, Cinema, and Mythography Tony Williams
3. Staging the Courtesan: Taking Zola's Nana to the Movies Heather Howard
4. From Theater to Cinema: Jean Renoir's Adaptation of Nana Katherine Golsan 5. The Eye Behind the Writing Hand: Surveillance and Adaptation in La Bête humaine Monica Filimon 6. "La Rançon du progrès": Naturalistic Discourse and Two Adaptations of Zola's Au Bonheur des Dames Klaus Peter Walter 7. Viewing Au Bonheur des Dames in the Context of Occupied France Jennifer Wolter 8. Thérèse Raquin in a Fog-Covered Corner Alicja Helman 9. Ideology and Focalization in Gervaise: The Aurenchébost/René Clément Treatment Russell Cousins 10. The Female Reader in Pot-Bouille and Duvivier's Cinematic Representation Elisabeth-Christine Muelsch 11. The Fabrication of Claude Berri's Germinal Anna Gural-Migdal 12. Nostalgia Is Hard to Let Go: The French Communist Party's Reception of Claude Berri's Filmic Adaptation of Germinal Laurent Marie 13. "At the Still Point": Framing the Naturalist Moment Robert Singer Select Filmography About the Contributors Index
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