Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation's source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.…mehr
Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation's source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.
David Evan Richard is a Lecturer in Media at Queensland University of Technology (QUT), Australia. He has published articles and essays on film and television aesthetics and experience, adaptation, and philosophy in Adaptation, NECSUS, and Senses of Cinema.
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Acknowledgements List of Figures Introduction. A 'Fleshly Dialogue' If Only You Could See What I've Seen with Your Eyes Fuzzy and Sticky: The Stigma of Subjective Impressionism in Adaptation Studies Beyond 'Intertextual Dialogism': Phenomenology Film and a 'Fleshly Dialogue' Corpus Works Cited Chapter One. Grave Visions: Visual Experience and Adaptation Introduction: Eye-Opener Visible and Visible: The 'Carnal Density of Vision' Early Cinema Aesthetics as an Attractive Possibility for Screen Adaptation Draped in Shadow: Murnau's Nosferatu Glittering Night: Francis Ford Coppola's Bram Stoker's Dracula Conclusion: Out of Sight Works Cited Chapter Two. Resonance and Reverberation: Sounding Out Screen Adaptation Prelude Acoustic Shape and the Sonic Wizardry of Screen Sound Listening to the Voice's 'Acoustic Sensuous Impression' Heart of Glass: Rendering the Sounds of Depression in The Hours Alienated Language: Under the Skin Final Note Works Cited Chapter Three. Textural Analysis: Touching Adaptation Introduction: Scratching the Surface Skin and Bone: Fleshing Out Tactile Experience in Film Theory 'Thumbprints' and an 'Irritating' Performance: In the Cut's 'Tactile Orientation' A Touching Sight: Embodied Voyeurism Conclusion: Final Touch Works Cited Chapter Four. Textures of Imagination Introduction: From Sight to Insight Wonder at the Limits of Adaptation Studies Wonder Make-Believe and Simulation: Cognitive Approaches to Imagination Embodied Imagination and Intercorporeality: Mind the ('Epistemic') Gap! Inside-Out and Upside-Down: Mood Indigo's Existential Feelings A Cute Grief: Feeling Blue in Mood Indigo Conclusion: From Percept to Precept Works Cited Chapter Five. (Re-)Mediating Memory's Materiality Introduction: Tracing Memory's Role in Adaptation Untangling the 'Thick' Tissue of Memory Textu(r)al Traces: Memory in Literature and Film Straight-Laced: The Danish Girl in Transition Poison's 'Ambivalent Aesthetic' of Memory Conclusion: The 'Pressure of the Past' Pushing Towards the Future Works Cited Conclusion. Body Language Arriving at an Embodied Theory of Adaptation Departures: Towards an 'Ethics of Adaptation' Works Cited Bibliography Filmography Index.
Acknowledgements List of Figures Introduction. A 'Fleshly Dialogue' If Only You Could See What I've Seen with Your Eyes Fuzzy and Sticky: The Stigma of Subjective Impressionism in Adaptation Studies Beyond 'Intertextual Dialogism': Phenomenology Film and a 'Fleshly Dialogue' Corpus Works Cited Chapter One. Grave Visions: Visual Experience and Adaptation Introduction: Eye-Opener Visible and Visible: The 'Carnal Density of Vision' Early Cinema Aesthetics as an Attractive Possibility for Screen Adaptation Draped in Shadow: Murnau's Nosferatu Glittering Night: Francis Ford Coppola's Bram Stoker's Dracula Conclusion: Out of Sight Works Cited Chapter Two. Resonance and Reverberation: Sounding Out Screen Adaptation Prelude Acoustic Shape and the Sonic Wizardry of Screen Sound Listening to the Voice's 'Acoustic Sensuous Impression' Heart of Glass: Rendering the Sounds of Depression in The Hours Alienated Language: Under the Skin Final Note Works Cited Chapter Three. Textural Analysis: Touching Adaptation Introduction: Scratching the Surface Skin and Bone: Fleshing Out Tactile Experience in Film Theory 'Thumbprints' and an 'Irritating' Performance: In the Cut's 'Tactile Orientation' A Touching Sight: Embodied Voyeurism Conclusion: Final Touch Works Cited Chapter Four. Textures of Imagination Introduction: From Sight to Insight Wonder at the Limits of Adaptation Studies Wonder Make-Believe and Simulation: Cognitive Approaches to Imagination Embodied Imagination and Intercorporeality: Mind the ('Epistemic') Gap! Inside-Out and Upside-Down: Mood Indigo's Existential Feelings A Cute Grief: Feeling Blue in Mood Indigo Conclusion: From Percept to Precept Works Cited Chapter Five. (Re-)Mediating Memory's Materiality Introduction: Tracing Memory's Role in Adaptation Untangling the 'Thick' Tissue of Memory Textu(r)al Traces: Memory in Literature and Film Straight-Laced: The Danish Girl in Transition Poison's 'Ambivalent Aesthetic' of Memory Conclusion: The 'Pressure of the Past' Pushing Towards the Future Works Cited Conclusion. Body Language Arriving at an Embodied Theory of Adaptation Departures: Towards an 'Ethics of Adaptation' Works Cited Bibliography Filmography Index.
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