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Film/literature/heritage : a sight and sound reader / edited by Ginette Vincendeau London: British Film Institute, 2001.
Call No: 753 FILAuthor: Vincendeau, Ginette, 1948 CorpAuthor: British Film InstitutePlace: LondonPublisher: British Film InstitutePubDate: 2001PhysDes: 284p. : ill. ; 24 cmSubject: ADAPTATIONS ; ADAPTATIONS. DICKENS, CHARLES ; ADAPTATIONS. JAMES, HENRY ; ADAPTATIONS. LEONARD, ELMORE ; ADAPTATIONS. SHAKESPEARE, WILLIAM ; ADAPTATIONS. THOMPSON, JIM ; HISTORICAL FILMS ; LITERATURE AND THE CINEMA ; ARMSTRONG, GILLIAN ; BASS, RON ; TARANTINO, QUENTIN ; AGE OF INNOCENCE, THE (US, Martin Scorsese, 1993) ; AMERICAN PSYCHO (US, Mary Harron, 1999) ; BEACH, THE (US, Danny Boyle, 1999) ; BELLE EPOQUE (SP/PO, Fernando Trueba, 1992) ; BOSSU, LE (FR, Philippe De Broca, 1997) ; BRAM STOKER'S DRACULA (US, Francis Ford Coppola, 1992) ; CARRINGTON (UK/FR, Christopher Hampton, 1995) ; COMO AGUA PARA CHOCOLATE (MX, Alfonso Arau, 1992) ; CRASH (CN, David Cronenberg, 1996) ; CYRANO DE BERGERAC (FR, Jean-Paul Rappeneau, 1990) ; DEAD AGAIN (US, Kenneth Branagh, 1991) ; EDWARD II (UK, Derek Jarman, 1991) ; ELIZABETH (UK, Shekhar Kapur, 1998) ; END OF THE AFFAIR, THE (UK, Neil Jordan, 1999) ; GERMINAL (FR, Claude Berri, 1993) ; GRIFTERS, THE (US, Stephen Frears, 1990) ; HOWARDS END (UK, James Ivory, 1992) ; HUSSARD SUR LE TOIT, LE (FR, Jean-Paul Rappeneau, 1995) ; JACKIE BROWN (US, Quentin Tarantino, 1997) ; INTERVIEW WITH THE VAMPIRE (US, Neil Jordan, 1994) ; L.A. CONFIDENTIAL (US, Curtis Hanson, 1997) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; LOLITA (US, Adrian Lyne, 1997) ; MADAME BOVARY (FR, Claude Chabrol, 1991) ; MADNESS OF KING GEORGE, THE (US, Nicholas Hytner, 1994) ; MAESTRO DE ESGRIMA, EL (SP, Pedro Olea, 1992) ; MANSFIELD PARK (UK/US, Patricia Rozema, 1999) ; MARY SHELLEY'S FRANKENSTEIN (US, Kenneth Branagh, 1994) ; MASK OF ZORRO (US, Martin Campbell, 1998) ; MISERABLES, LES (FR, Claude Lelouch, 1995) ; MRS. BROWN (UK, John Madden, 1997) ; MRS. DALLOWAY (US, Marleen Gorris, 1997) ; NAKED LUNCH (CN/UK, David Cronenberg, 1991) ; ORLANDO (UK/RU/FR/NE, Sally Potter, 1992) ; OUT OF SIGHT (US, Steven Soderbergh, 1998) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; PROSPERO'S BOOKS (UK/FR, Peter Greenaway, 1991) ; REINE MARGOT, LA (FR/GG/IT, Patrice Chereau, 1994) ; REMAINS OF THE DAY, THE (UK/US, James Ivory, 1993) ; RIDICULE (FR, Patrice Leconte, 1996) ; SECRET GARDEN, THE (US, Agnieszka Holland, 1993) ; SENSE AND SENSIBILITY (US, Ang Lee, 1995) ; SHAKESPEARE IN LOVE (UK, John Madden, 1998) ; SHORT CUTS (US, Robert Altman, 1993) ; TALENTED MR. RIPLEY, THE (US, Anthony Minghella, 1999) ; TEA WITH MUSSOLINI (IT, Franco Zeffirelli, 1997) ; THIS WORLD, THEN THE FIREWORKS (US, Michael Oblowitz, 1997) ; THREE MUSKETEERS, THE (US, Stephen Herek, 1993) ; TITUS (US, Julie Taymor, 1999) ; TRAINSPOTTING (UK, Danny Boyle, 1996) ; WILDE (UK/US/JA/GG, Brian Gilbert, 1997) ; WILLIAM SHAKESPEARE'S ROMEO + JULIET (US, Baz Luhrmann, 1996) Summary: "Period costume dramas are major box office commodities, exploiting the lucrative gap between the blockbuster and art film with their mixture of rich visuals, popular sensibility and literary association. But 'heritage cinema' is all too often discussed from literary (not cinematic) perspectives, and criticism of the films has long been overshadowed by the question of a film's fidelity to the original text. This volume of essays, reviews, and interviews seeks to redress this imbalance, by examining the often antagonistic relationship between literature and film - presenting both sides of the argument about whether heritage cinema's elaborate aesthetics owe more to nostalgia than to historical accuracy. In her challenging introduction to the volume, Ginette Vincendeau sketches the terms of the debate, arguing that the genre is an important, but often critically neglected, form of popular cinema. Film/Literature/Heritage, the latest in a series of 'Sight and Sound Readers', embraces a wide range of literary adaptation, from William Shakespeare to William Burroughs, covering films from Orlando to LA Confidential, and directors from Martin Scorcese to Peter Greenaway." - BOOK BLURBISBN: 0851708420; 0851708412(pbk.) : ¦13.99LON: 22285912
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Maximum movies - pulp fictions : film culture and the worlds of Samuel Fuller, Mickey Spillane, and Jim Thompson / Peter Stanfield New Brunswick, N.J.: Rutgers University Press, 2011.
Call No: 408 STAAuthor: Stanfield, Peter Source: USPlace: New Brunswick, N.J.Publisher: Rutgers University PressPubDate: 2011PhysDes: xiii, 227 p. : ill. ; 24 cmSubject: ADAPTATIONS. THOMPSON, JIM ; ADAPTATIONS. SPILLANE, MICKEY ; FULLER, SAMUEL ; EXPLOITATION FILMS ; CULT FILMS ; BEST FILMS ; CULTURE AND THE CINEMA. USA ; THEORY ; AESTHETICS ; POPULAR CULTURE AND THE CINEMA ; POPULAR CULTURE AND THE CINEMA. USA ; FILM CULTURE ; GODARD, JEAN-LUC ; FARBER, MANNY ; KISS ME DEADLY (US, Robert Aldrich, 1955) Summary: A study on pulp movies (such as Kiss me Deadly, Shock Corridor, Fixed Bayonets!, I Walked with a Zombie, The Lineup, Terror in a Texas Town, Ride Lonesome) impacted upon and influenced the critics, cinephiles, and filmmakers of the day (people such as Jean-Luc Godard, Manny Farber, Lawerence Alloway, Paulene Kael). The critics 'championed the cause of these movies and incited the cultural guardians of the day by attacking a rigorously policed canon of tasteful, rareified, and ossified art objects.
Against the legitimate and in the defense of the illegitimate, in an insolent and unruly manner, these critics agitated for the recognition of lurid sensational crime stories. War pictures, fast-paced Westerns, thillers, and gangster melodramas were claimed as examples of the true, the real, and the authentic in contemporary culture - the foundation upon which modern film studies sits.' - taken from Back CoverISBN: 9780813550626Contents: Introduction : yours till the boys come home -- Position papers : in defense of pulp movies -- A genealogy of pulp : Black mask to Mickey Spillane -- A world of small insanities : the critical reception of Kiss me deadly -- American primitive : Samuel Fuller's pulp politics -- Authenticating pulp : Jim Thompson adaptations and neo-noir -- Conclusion : hiding out in cinemas
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