Film and Literature

Empire from a Distance examines images of Russians, Russia and the Soviet Union in texts of culture. The volume is focused on a cultural perspective, including both historical and contemporary issues. Culture, on the other hand, encompasses, above all, a particularly intriguing area that goes beyond the phenomena of the so-called high culture. Instead of a thousandth interpretation of the works of Russian prose masters from the nineteenth century, the authors offer a fascinating journey through the Eastern cultural topoi manifested in the world of memes or comic book superheroes. There is no shortage of in-depth analyses of individual film titles, excellent comparative studies (both of two reporters and of entire Polish-Spanish cultural configurations), as well as intriguing and unorthodox religious scholarly threads. All this makes reading the book an invigorating and compelling experience.

Although nearly every secondary school English teacher includes film as part of the English/language arts curriculum, there is, to this point, nothing published about effectively studying the relationship between film adaptations and their print source texts in secondary school. There are several important works that inform film study in secondary English classrooms. These include Alan Teasley and Ann Wilder's Reel Conversations; William Costanzo's Reading the Movies and his updated version, Great Films and How to Teach Them; and John Golden's Reading in the Dark. However, each of these mention adaptation briefly if at all. Rather, they approach film as a text that students need to learn how to "read." While I certainly agree with this position, I argue that students also must learn how to productively investigate the relationship between films and their literary source texts. To make this case, I survey the field of adaptation theory generally, beginning with George Bluestone's seminal Novels into Film and moving towards contemporary theory, like Robert Stam's work, which suggests theoretical paradigms beyond fidelity analysis. I rely, particularly, on Mikhael Bakhtin's dialogism as a theoretical frame for studying adaptations in school. I also suggest four specific areas that act as foundations for successfully approaching adaptations with secondary English students: (1) economic analysis, (2) intertextualities (the matrix of cultural influences on a text), (3) Gérard Genette's notion of transtextuality (the relationship of one text to others), and (4) an expansion of adaptation to include the relationships of print texts to new media adaptations. In order to further develop ways that secondary school English teachers can specifically approach adaptation in their classrooms, I include two case studies. The first focuses on pairing Laurie Halse Anderson's award-winning young adult novel Speak with Jessica Sharzer's film adaptation. The second suggests methods for teaching Mary Shelley's Frankenstein along with James Whale's film adaptation. Because so little has been written about effectively incorporating film adaptations into the secondary school English curriculum, this project seeks not only to analyze the theoretical foundation for adaptation study, but also to suggest specific methodology that can be utilized by teachers. I have been blessed with a graduate committee composed of uncommonly good teachers, and I'm grateful for their mentorship and friendship. Dennis Cutchins suggested this project, which I have thoroughly enjoyed pursuing, and his guidance along the way has been invaluable. Amy Jensen pointed me towards foundational media literacy materials and gave me an opportunity to apply my theoretical understanding of adaptation to the classroom. Chris Crowe showed me how to teach, introduced me to young adult literature, and always treated me like I belonged in this field. My wife, Julee, never doubted that I would complete this project. It is because of her exceptional faith and courage that I worked to prove her right. My children brighten every day, but their influence was especially significant while I was writing this thesis and our time together was brief. I must also thank my students over the last six years at Lone Peak High School. I embarked on this project because I believed that they could learn something valuable in the space between film adaptations and their print source texts. My colleagues at Lone Peak, particularly those in the English department, were a constant inspiring and encouraging force. Finally, I appreciate my mom's endless support. Though my dad's not here to read this, I hope he would have been proud. Chapter Past and Future Theoretical Discourse about Adaptation.

Although nearly every secondary school English teacher includes film as part of the English/language arts curriculum, there is, to this point, nothing published about effectively studying the relationship between film adaptations and their print source texts in secondary school. There are several important works that inform film study in secondary English classrooms. These include Alan Teasley and Ann Wilder's Reel Conversations; William Costanzo's Reading the Movies and his updated version, Great Films and How to Teach Them; and John Golden's Reading in the Dark. However, each of these mention adaptation briefly if at all. Rather, they approach film as a text that students need to learn how to "read." While I certainly agree with this position, I argue that students also must learn how to productively investigate the relationship between films and their literary source texts. To make this case, I survey the field of adaptation theory generally, beginning with George Bluestone's seminal Novels into Film and moving towards contemporary theory, like Robert Stam's work, which suggests theoretical paradigms beyond fidelity analysis. I rely, particularly, on Mikhael Bakhtin's dialogism as a theoretical frame for studying adaptations in school. I also suggest four specific areas that act as foundations for successfully approaching adaptations with secondary English students: (1) economic analysis, (2) intertextualities (the matrix of cultural influences on a text), (3) Gérard Genette's notion of transtextuality (the relationship of one text to others), and (4) an expansion of adaptation to include the relationships of print texts to new media adaptations. In order to further develop ways that secondary school English teachers can specifically approach adaptation in their classrooms, I include two case studies. The first focuses on pairing Laurie Halse Anderson's award-winning young adult novel Speak with Jessica Sharzer's film adaptation. The second suggests methods for teaching Mary Shelley's Frankenstein along with James Whale's film adaptation. Because so little has been written about effectively incorporating film adaptations into the secondary school English curriculum, this project seeks not only to analyze the theoretical foundation for adaptation study, but also to suggest specific methodology that can be utilized by teachers. I have been blessed with a graduate committee composed of uncommonly good teachers, and I'm grateful for their mentorship and friendship. Dennis Cutchins suggested this project, which I have thoroughly enjoyed pursuing, and his guidance along the way has been invaluable. Amy Jensen pointed me towards foundational media literacy materials and gave me an opportunity to apply my theoretical understanding of adaptation to the classroom. Chris Crowe showed me how to teach, introduced me to young adult literature, and always treated me like I belonged in this field. My wife, Julee, never doubted that I would complete this project. It is because of her exceptional faith and courage that I worked to prove her right. My children brighten every day, but their influence was especially significant while I was writing this thesis and our time together was brief. I must also thank my students over the last six years at Lone Peak High School. I embarked on this project because I believed that they could learn something valuable in the space between film adaptations and their print source texts. My colleagues at Lone Peak, particularly those in the English department, were a constant inspiring and encouraging force. Finally, I appreciate my mom's endless support. Though my dad's not here to read this, I hope he would have been proud. Chapter Past and Future Theoretical Discourse about Adaptation.

The saddest aspect of life right now is that science fiction gathers knowledge faster than society gathers wisdom." -Isaac Asimov "Science is no more than an investigation of a miracle we can never explain, and art is an interpretation of that miracle." -Ray Bradbury

This paper explores the role of conflict as a driving force in romantic comedy, comparing Oscar Wilde's Lady Windermere's Fan with Nora Ephron's You've Got Mail. Through close reading and analysis, it examines how romantic comedy uses misunderstanding, deception, and moral testing to both delay and deepen romantic union. The essay engages with classical theories of drama and modern cinematic storytelling to show that in this genre, love is not the absence of conflict, but its transformation into mutual understanding. Pre-Course Assignment Title: In what ways is conflict an essential precondition of romantic comedy? Clash in romantic comedy is not just a decorative element-it is the backbone of the genre. One could argue that this is rooted in Aristotle's rules of drama, which emphasize the necessity of tension between leading

The present article compares the extended screenplay version of The Inner Life of Martin Frost with its shorter, prose version from The Book of Illusions with a focus on their depiction of love. The new material in the screenplay reverses the apparent happy ending of the novelistic version, as Claire is consistently placed outside Martin's reach. This allows Paul Auster an alternate way to communicate ideas that the novel suggests by juxtaposing Martin's tale with other narrative layers. The new ending, where Martin is forbidden from looking at Claire directly but allowed to gaze at her in mirrors, resonates with Jacques Lacan's and Slavoj Žižek's analysis of courtly love, according to which women function as the Freudian "Thing" in amorous relationships. Despite this, Martin's love is not without a healing aspect.

Este artículo se centra en el análisis de la representación
de los cuerpos del gaucho y del
torero que protagonizan respectivamente la
película argentina "Nobleza gaucha" (1915) y la
española "Sangre y arena" (1916). Ambas películas
comparten ser producto de una época cinematográfica
de transición entre el cine de los
orígenes y el cine clásico. Observaremos cómo
esta circunstancia tiene su reflejo en los distintos
métodos con que cada uno de los dos films
representan el cuerpo de sus protagonistas.
This article focuses on the analysis of the representation
of the bodies of the gaucho and
the bullfighter in the Argentinian film "Nobleza
gaucha" (1915) and the Spanish "Sangre y arena"
(1916). Both films share the fact that they are
products of a cinematographic era of transition
between the early cinema and the classic cinema.
We will observe how this circumstance is
reflected in the different methods with which
each of the two films represent the bodies of
their protagonists.

Explore the rich dialogue between French literature and cinema.

This volume takes readers on a journey through seven iconic works of French literature and their powerful film adaptations. From Zola's urban realism and the poetic melancholy of Maupassant to the earthy humanity of Giono and Pagnol, these classics are brought vividly to life on screen by master directors like Jean Renoir, Max Ophüls, and Claude Berri. Blending literary insight with cinematic analysis, the book reveals how these films reflect, reinterpret, or challenge the original texts' evolving ideas of modernity, gender, culture, and tradition. Perfect for students, cinephiles, and lovers of French culture, this is an essential guide to understanding how France's greatest stories continue to resonate through both word and image.

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No filme Pickpocket (Robert Bresson, 1959), que pode ser considerado uma adaptação livre de Crime e castigo de Dostoievski, os diálogos são tratados como batalhas do protagonista Michel com Jacques, Jeanne e o delegado, personagens correspondentes a Razumíkhin, Sonia e Porfiri, respectivamente. Esses diálogos e, particularmente, os seus desfechos, são diferentes de acordo com o interlocutor: em corte seco (com Jacques), cheio de evasivas (com Jeanne) e passível de provocar um acesso de raiva em Michel (no caso do delegado). Apesar da grande diferença da brevidade dos diálogos de Bresson com os verborrágicos personagens de Dostoievski, tais sentimentos são comparáveis aos que acontecem nos diálogos de Raskólnikov com os três personagens correspondentes em Crime e castigo. Além disso, no filme, elementos como silêncios entre as falas, repetições de palavras e parataxes são essenciais para conferir-lhes um ritmo particular. Analisamos como esses elementos atuam para o ritmo dos diálogos de Bresson e comparamos os diálogos do protagonista masculino com os citados três interlocutores, tanto no filme de Bresson como no livro de Doistoievski, evocando semelhanças, em especial, em seus desfechos.

This chapter appears in the edited volume Goethe als Literatur-Figur (Wallstein Verlag, 2016), and examines cinematic representations of Johann Wolfgang von Goethe. It traces how filmmakers have reimagined Goethe as a modern mythological figure, oscillating between reverence and reinvention, and reflects on his adaptability as a cultural icon in 20th-century German-language cinema.

The importance of geographic space is extremely evident in post-apocalyptic novels, especially in the science fiction and post-apocalyptic novel Malevil (1972) by Robert Merle. Malevil represents, following a huge unknown explosion, a post-apocalyptic image of Malevil's space and its surroundings. In the confluence of reality and imagination, after the "Zero Day" or "Event Day", life returns to the starting point before human civilization. The current research article attempts to investigate the spatio-temporality continuum in order to describe the represented spaces inspired by the author's imagination. Based on the spatiotemporality continuum, which is one of Westphalian Geocriticism's theories, time and space are not independent of each other. Rather, time is considered as a dimension of space. In the analysis of spatio-temporality, diachronic strata have been investigated in order to represent a more comprehensive geographic space. Relying on imaginary transgressivity, the mass of memories is becoming important in representing the geographic space of the novel through asynchronic strata. The dynamic relationship is formed between space and temporal strata. The continuous effort, knowledge and experience of The World before "Zero Day" to restore the post-apocalyptic dystopia and reach the utopia indicate the responsibility of Malevil's residents.

This essay discusses the use of light and shadow as a nuanced and rich system of theatrical symbols in Max Reinhardt's promptbook for Arthur Schnitzler's Reigen. Reinhardt employs various light sources on stage to divide the theatrical space into zones of light and darkness. These zones not only influence the characters' behaviour but also form a symbolic space for the very motif that creates momentum in Schnitzler's ten dialogues: sexual intercourse. In Reinhardt's conception for Schnitzler's Reigen, lighting serves as both a practical and an aesthetic device, making the events on stage visible while simultaneously obscuring others and thereby enhancing the performative effect of visibility and invisibility. The invisible in the dark is envisioned as an integral part of the performance experience, confronting the audience with their own gaze at the unseen but imaginable and implied. Darkness thus becomes a theatrical medium to translate the explicit omission of the sexual act in Schnitzler's text. Combined with his use of music on stage, lighting design is a crucial element of Reinhardt's staging concept.

Kunst ist nicht das Schwierigste, was man heute tun oder ertragen kann. Schwieriger ist es jedoch, die Kunst ›umzuleiten‹ (wie es die Situationisten formulierten), indem man ihre Aura nutzt, um etwas noch Überraschenderes zu bewirken: öffentliche Bedeutung. Auf diese Weise wird die Kunst zu einer Kunst des Dialogs als Form; eine Form, die sich verselbständigt. Und das würde ich heute ›Poesie‹ nennen«. Jochen Gerz 1

Inszenierte Intermedialität bezeichnet ein Phänomen, bei dem mindestens zwei unterschiedliche Medien – z.B. Literatur und Malerei – innerhalb eines Mediums in Kontakt treten und sich gegenseitig inszenieren. Das Medium stellt dabei ein offenes Feld von Möglichkeiten und Spannungen dar: Eine literarische Figur erscheint, als wäre sie ein Bild, oder ein visuelles Detail beginnt zu erzählen, wie es Wörter tun. Um dieses Konzept besser zu verstehen, folgt Stella Chachali der Struktur eines Theaterstücks, in dem die medialen Körper von Schrift und Bild den Chor bilden, während die ästhetischen Kategorien, die solche Phänomene entschlüsseln, die zentralen Helden des Dramas sind. Die Kategorien wandern als nomadische Figuren zwischen unterschiedlichen Diskursen, bis sie das Feld der Intermedialität erreichen und ästhetisiert werden. Dann beginnen sie in schriftbildlichen Straßen zu flanieren und eröffnen so neue intermediale Wege.

Frankenstein; or, The Modern Prometheus was published anonymously in 1818, the second edition, published in 1821 was signed by Mary Shelley, it is a highly regarded novel and still relevant to this day. About that importance, in this paper, we aim to analyse the sequence of events according to the parameter of what Victor and his creature consider good or evil; or, right or wrong. We consider some of these decisions to be crucial to determine the course of the story and development of the characters. Thus, in the following pages we will review and explain both characters' experiences and their subsequent decisions and consequences.

In Thomas Mann's Death in Venice (1912), cholera slowly spreads through the city, eventually infecting and killing the book's protagonist, Gustav Von Aschenbach. While a cholera outbreak in Venice also structures Luchino Visconti's film adaptation, the director once claimed that in his film, Aschenbach died of other causes.

What we call "humanity" is not a fixed presence but a virtual state, a floating cypher strung between a biological being rooted in the animal world and a technological product fashioned by our own hands.  Hence it is intriguing to consider a prominent myth or meme in American culture that features a sort-of-human being, part biology and part technology, who has captured our collective imagination for over two centuries: Doctor Frankenstein's Creature.

Sergej Rickenbacher (Aachen) ›Naive‹ Medien? Nouvelle Vague, Christian Krachts Die Toten und die ›Metamo-derne‹ Begrifflich sind ›naive Medien‹ ein Widerspruch. Medien sind nie ›natürlich‹, ›unge-künstelt‹, ›unverstellt offen‹, ›aufrichtig‹ und ›treuherzig‹, wie das Deutsche Wörterbuch der Gebrüder Grimm den Begriff ›naiv‹ umschreibt. 1 Auch deckt sich die Vorstellung, dass Medien naiv sein könnten, nicht mit dem Selbstverständnis der Medienwissenschaften. Zwar ist die Koppelung der kulturellen Entwicklung an die Genese von neuen Medien unterdessen relativiert worden, 2 aber ein weiteres Apriori hat weiterhin Gültigkeit: the medium is the message, d. h. die Übertragung und Vermittlung von Inhalten mittels von Gegenständen und Praktiken bedeutet immer schon den Verlust einer unmittelbaren Erfahrung. Jedoch kann Naivität bekanntlich in ästhetischen Kontexten nicht mit ›Natürlichkeit‹ oder ›Aufrichtigkeit‹ synonym gesetzt werden. Die philosophische Ästhetik und die Kunstpraxis der Neuzeit entwickelten verschiedene Konzepte des ›Naiven‹ 3 . Basal gilt es zwischen einer dümmlichen Einfalt -une naïvété -und einer genialischen Simplizität -la naïvété -sowie analog zwischen einer naiven Denkbzw. Empfindungsweise und dem Stil eines Kunstwerks zu unterscheiden. Darüber hinaus ist ›naiv‹ auch meist ein Relationsbegriff, mit dem weder ein gesellschaftlicher Zustand noch eine individuelle Disposition gemeint ist. Vielmehr ist ›naiv‹ ein soziohistorisch situiertes, diskursiv geschaffenes Ideal, das zur trivialen oder kritischen Verortung der eigenen Gegenwart benutzt wird. 4 ›Naive‹ Kunst muss also weder einfältig noch von naiven Künstler*innen geschaffen sein. Angesichts der nicht immer unproblematischen, jedoch meist reflektierten Auseinandersetzungen mit Naivität in den Künsten und der Bedeutung eines ›naiven‹ Stils überrascht es, dass die Medialität und Materialität von Kunstwerken -im Gegensatz zu

Resumen: El presente artículo analiza la construcción de ciertos paisajes nacionales en cuatro films del periodo silente del cine boliviano: Corazón aymará (1925), La profecía del lago (1925), La gloria de la raza (1926) y Wara Wara (1930). Se sostiene que los mismos elaboran un "paisaje-andino", un "paisaje-memoria" y un "paisaje-rostro" respectivamente. A partir de ello, el trabajo afirma que dichas construcciones paisajísticas, junto a otras producciones visuales del periodo, han contribuido a un "reencantamiento del mundo" que, paradójicamente, se articuló con el avance del proceso modernizador boliviano. Dicho "reencantamiento" se basó en la edificación de imaginarios que aludían a la civilización de Tiwanaku. De esta forma, los paisajes construidos permitieron forjar la idea de que aymaras y quechuas son parte de una misma "raza" surgida de la mencionada civilización preincaica: lo que propició el proceso asimilatorio y, a su vez, imaginar a la nación boliviana a partir de una homogeneidad racial constitutiva.

"Tempo di vivere" di Douglas Sirk, tratto dal romanzo di Remarque, esce nel 1958 e non riscuote un grande consenso da parte del pubblico. Vince però l’Orso d’oro a Berlino e nel 1959 è omaggiato sui Cahiers du cinéma da una recensione “follemente elogiativa” firmata da Jean-Luc Godard. Di lì in avanti il film segue a traino la fortuna critica del suo autore, riscoperto dai film studies negli anni Settanta e assurto oggi al rango di autore di culto. Eppure a ben vedere "Tempo di vivere" non ha fino a oggi ricevuto la stessa attenzione critica di altri film di Sirk. Resta il meno analizzato, il meno vivisezionato dei grandi titoli della maturità sirkiana.

در این مقال خواهم کوشید با توجه به تعریف و ویژگی های  طرح ، نگاهی مختصر کنم به قوت و ضعف محمدباقر خسروی در ایجاد و رعایت طرح و توطئه رمان شمس و طغرا . اشاره ای خواهم کرد به این احتمال که خسروی از ابتدا بنا به تفصیل رمان خویش نداشته و به هر روی از اواسط خلق اثر به چنین تصمیمی رسیده است. البته او که در خلق رمان خود از منابع اسلامی و ایرانی به خوبی الهام گرفته ، با توجه به اینکه اولین یا از اولین های رمان نویسی ایرانیان بوده است در مواردی هم مثلا در نسبت داستان و تاریخ به خوبی از عهده برنیامده و در نتیجه قلم او در مواردی چون طراحی قهرمان و ضد قهرمان به چالش کشیده شده است. با این همه باید اذعان کرد که خلق رمانی در سه جلد – آن هم مربوط به قرنهایی پیش از روزگار خسروی - اقدامی شگفت بوده که وی توانسته با ایجاد جاذبه های بسنده داستانی بدان اهتمام ورزد و تصویری از قرون پیشین  و مشخصا قرن هفتم تاریخ ایران برای روزگار ما به یادگار گذارد.

Basado en los fundamentos teóricos desarrollados por pensadores clave como Benjamin, Freud, Foucault y Derrida, este artículo enfoca las intrincadas interacciones y transformaciones inherentes a los archivos que se manifiestan en los entrelazamientos entre los aspectos retrospectivos y prospectivos. Estas transformaciones orientadas hacia el "pasado que seremos" (Wills Obregón 2022), surgen a partir de los desafíos del presente. La potencialidad transformadora de los archivos se manifiesta en la sutil red de relaciones entre las memorias individuales y colectivas, las personas, las instituciones y los medios. Esta red se constituye y se representa en el arte. Para su análisis se cotejan ejemplos del cine documental con producciones cinematográficas colombianas que abordan traumas individuales y colectivos. Esto da origen a un nuevo tipo de archivos, congruentes con el uso metafórico ya presente en los conceptos fundacionales y ampliamente propagado por el giro archivístico (archival turn). El archivo se sitúa en los procesos interactivos entre la memoria activa y la memoria pasiva (Aleida Assmann 2012). Estos procesos revitalizan la memoria estática del almacenamiento dando lugar a una po/ética. El archivo no solamente vincula el presente con el pasado, la vida con la muerte, sino que sus reconfiguraciones propician también una reflexión crítica. Proviniendo de la memoria estática de almacenamiento, se adentra en la dinámica de la memoria colectiva viva al conectar lo poético con lo ético.

Entre las numerosas adaptaciones cinematográficas de Don Quijote de la Mancha, las realizadas por el director cántabro Manuel Gutiérrez Aragón son unas de las más elogiadas por la crítica y con mayor éxito de público, además de acumular numerosos premios.
La primera versión corresponde a la Primera parte de la novela. Fue filmada para Televisión Española de 1992 con formato de serie y consta de 5 capítulos. Fernando Rey y Alfredo Landa encarnaron, respectivamente, los personajes de Quijote y Sancho.
La continuación no se puede concretar debido a la muerte Fernando Rey y del productor Emiliano Piedra.
Finalmente, en 2002, Gutiérrez Aragón filma la Segunda parte del ingenioso caballero Don Quijote de la Mancha con formato de película de largometraje bajo el título El caballero don Quijote. José Luis Galiardo es el caballero y Carlos Iglesia el fiel escudero. En el film, el cineasta recrea con éxito algunos pasajes de la novela, poniendo de relieve una vez más que literatura y cine se sirve de lenguajes diferenciados y que el acierto de una trasposición no reside tanto en el sometimiento irrestricto al texto original como en el logro de una armonía entre el texto escrito y el medio audiovisual.

«¡Para mí siempre es de noche!», 1 dice Max Estrella en la escena octava de Luces de bohemia. Y tampoco es casual que todo lo que ocurre bajo las «luces de bohemia» ocurra en el transcurso de una noche. Por un lado, como postula Wolfgang Kayser en Lo grotesco en el arte y en la literatura, «[e]l escenario de fondo apropiado en un trabajo grotesco es de oscuridad y nocturnidad, sugiriendo así un algo [...] siniestro más allá de un mundo más iluminado [y diurno] y más racionalmente organizado». 2 Por otro lado, lo grotesco es el elemento en el que se fundamenta el esperpento; y si «el clasicismo apoya una ordenada y formal visión del mundo, lo grotesco [...] ofrece una visión [...] en la que los normales y esperados valores y relaciones entre las cosas se subvierten, dando total preeminencia a lo ilógico y lo absurdo». 3 Se llega así al esperpento en la noche, en una ciudad moderna que simboliza, mediante sus calles entrecruzadas, desordenadas, desarticuladas, la imposibilidad de acceder a la realidad global. Espacializada la fragmentación moderna, nos encontramos con una noche plagada de bohemios, borrachos, revolucionarios, poetas y, por supuesto, prostitutas, «daifas» y pingonas, representantes éstas por antonomasia de tal «fauna» noctámbula. El espectáculo es observado por el nuevo bohemio de la ciudad. Y la vista desde su pluma es la de una urbe que es foco de alienación, de vertiginosa vida sin sentido. Es lugar donde individuos inmersos en multitudes se sienten solos; y los que en la ciudad viven, y de esa forma la sienten, se refugian en un subjetivismo romántico que marca su visión estética del mundo. Surgen los románticos. Pero si bien los románticos anteriores habían acudido a la naturaleza para huir de la realidad, estos nuevos románticos fijan su mirada en la ciudad. Es en este mirar cuando se topan con y sienten simpatía por la prostituta: La prostituta es la desarraigada y la proscrita, la rebelde que se rebela no sólo con

«¡Para mí siempre es de noche!», 1 dice Max Estrella en la escena octava de Luces de bohemia. Y tampoco es casual que todo lo que ocurre bajo las «luces de bohemia» ocurra en el transcurso de una noche. Por un lado, como postula Wolfgang Kayser en Lo grotesco en el arte y en la literatura, «[e]l escenario de fondo apropiado en un trabajo grotesco es de oscuridad y nocturnidad, sugiriendo así un algo [...] siniestro más allá de un mundo más iluminado [y diurno] y más racionalmente organizado». 2 Por otro lado, lo grotesco es el elemento en el que se fundamenta el esperpento; y si «el clasicismo apoya una ordenada y formal visión del mundo, lo grotesco [...] ofrece una visión [...] en la que los normales y esperados valores y relaciones entre las cosas se subvierten, dando total preeminencia a lo ilógico y lo absurdo». 3 Se llega así al esperpento en la noche, en una ciudad moderna que simboliza, mediante sus calles entrecruzadas, desordenadas, desarticuladas, la imposibilidad de acceder a la realidad global. Espacializada la fragmentación moderna, nos encontramos con una noche plagada de bohemios, borrachos, revolucionarios, poetas y, por supuesto, prostitutas, «daifas» y pingonas, representantes éstas por antonomasia de tal «fauna» noctámbula. El espectáculo es observado por el nuevo bohemio de la ciudad. Y la vista desde su pluma es la de una urbe que es foco de alienación, de vertiginosa vida sin sentido. Es lugar donde individuos inmersos en multitudes se sienten solos; y los que en la ciudad viven, y de esa forma la sienten, se refugian en un subjetivismo romántico que marca su visión estética del mundo. Surgen los románticos. Pero si bien los románticos anteriores habían acudido a la naturaleza para huir de la realidad, estos nuevos románticos fijan su mirada en la ciudad. Es en este mirar cuando se topan con y sienten simpatía por la prostituta: La prostituta es la desarraigada y la proscrita, la rebelde que se rebela no sólo con

This paper aims to explore the teachers' perceptions and practices of patterns of interaction in the classroom in Sudanese context. The study adopted the descriptive and qualitative methods. The data of the article were collected through two questionnaires. The first one was submitted to (40) EFL teachers at ALAHFAD University for Women. The second questionnaire was submitted to (40) EFL students at different colleges at ALAHFAD University for Women. The number of the participants was (40) males and females teachers and (40) male students. The obtained data were analysed by using (SPSS). The findings manifested that ESL/ EFL teachers have affinity employing interactional strategies in classrooms. There is a gap between EFL teachers' knowledge and practice. Development training program and reflection are assisting the implementation of interactional strategies successfully. Collaborative teaching strategy is a key for EFL classroom interaction. Interactional strategies challenges appear in whole class teaching, large size classroom and large group work. Interactional strategies reinforce learning practicability and incubate EFL students' language proficiency.

The core aim of this research paper is to survey the correlation between the instructional technology training on teaching practicability. The researchers used the descriptive method to conduct this research paper. The data of the research paper was collected through a questionnaire which was tried out on different English language teachers at Alahfad University for Women. The respondents were 50 university teachers. The obtained information was analysed by using (SPSS) program. Having checked and verified the truth of hypotheses; the results have revealed that English language teachers are faced with some challenges when using technology as availability, accessibility, support and applicability. The EFL teachers' knowledge about technology is not enough for implementing instructional technology properly. Most English teachers demonstrated positive attitudes towards instructional technology. The constant training program in technology is desirable by the majority of English language teachers.

Reseña a Mauricio Durán Castro y Claudia Salamanca (Eds.). (2016). Archivo, memoria y presente en el cine Latinoamericano. Bogotá: Pontificia Universidad Javeriana, 304 p. Este libro reúne las conferencias y  ponencias del "III Encuentro de investigadores en cine: archivo, memoria y presente" que se realizó en Bogotá en 2012. Los artículos abordan distintas formas, usos y apropiaciones de los archivos en el cine latinoamericano.

Συνδιοργάνωση: Εθνικό Κέντρο Έρευνας Διάσωσης Σχολικού Υλικού (ΕΚΕΔΙΣΥ), Εργαστήριο Ψυχοπαιδαγωγικών Εφαρμογών στην Προσχολική Αγωγή, Πανεπιστήμιο Δυτικής Αττικής, Μητροπολιτικό Κολλέγιο, Aegean College, Πανεπιστήμιο Λευκωσίας, Πανελλήνιος Σύλλογος Παιδικών Σταθμών (ΠΑ.Σ.Ι.Π.Σ) και Greek Cultural Institute (02-03 Νοεμβρίου 2024).

Το βιβλίο αυτό συγκεντρώνει απόψεις τεσσάρων ελλήνων δημιουργών για τη σχέση κινηματογράφου και λογοτεχνίας, των σκηνοθετών Τώνη Λυκουρέση, Σωτήρη Γκορίτσα και Γιάννη Λαπατά και της σεναριογράφου Μαρίας Βαρδάκα. Με αφετηρία ταινίες τους, που βασίζονται σε λογοτεχνικά έργα, οι δημιουργοί συζητούν τον τρόπο με τον οποίο προσεγγίζουν το ζήτημα της μεταφοράς λογοτεχνικών κειμένων στην οθόνη και παρέχουν πολύτιμες πληροφορίες για τα στάδια μιας τέτοιας διαδικασίας. Το πλούσιο εικονογραφικό υλικό της έκδοσης συμβάλλει να αναδειχτεί η γοητεία της καλλιτεχνικής δημιουργίας και να φωτιστούν πληρέστερα οι αναφορές στις ταινίες:
• "Σκλάβοι στα δεσμά τους" του Τώνη Λυκουρέση, συν-σεναριογράφος Μαρία Βαρδάκα  • "Απ’ τα κόκαλα βγαλμένα" του Σωτήρη Γκορίτσα
• "Η δεξιά τσέπη του ράσου" του Γιάννη Λαπατά.

Η έκδοση είναι αποτέλεσμα του προγράμματος «Ελληνικός κινηματογράφος-Κινηματογραφικές διασκευές. Θεωρία και Πράξη», που υλοποιήθηκε από το Εργαστήριο Εικόνας, Ήχου και Κίνησης του Ινστιτούτου Μεσογειακών Σπουδών-Ι.Τ.Ε., υπό την αιγίδα και με τη χρηματοδότηση του ΥΠΠΟ.

She earned her Ph.D. at Claremont Graduate University. has made several presentations for JASNA, and has published essays in Persuasions and Nineteenth-Century Gender Studies. She is writing a book about Jane Austen and value. Lucv STEELE HAS" SECllET, but she is surprisingly \villing to share her secret \\•ith Elinor Oash\,•ood. Lucy is pretty but illiterate, shre\vd but rustic. She shares rnercenary values, hO\\'C\'er, that resonate \vith \VOtnen above her station, and she counts on the good character of Elinor to assist in her speculative plans. She is not iritercsted in love or even n1arriage to a good man; her only aim is to rnove up in society. As Lucy shares her secret \vith Elinor, she also reveals her rea l \VOrth to the reader. By analy:t.ing Lucy's character as a co1nn1odity on the n1arriage 1narket, \Ve can better understand Jane Austen's take on value: \vhat n1ight be perceived as \'aluable in the 1narketplace might not have real or i11tri11sic value. Lucy knO\VS that her value is based on rnere perception; in a consun1cr cconon1y the skill of speculation 1nay be necessary. Although Austen 1night be re\•ealing that Lucy's unscrupulous speculation is necessary in the marriage rnarket, she clearly does not celebrate its existence. Austen sho,vs little sy111pathy for Lucy and etnphasizes the speculator's ex

Resumo-O ensaio analisa a relação de Kierkegaard com a fi losofi a e o cinema, perpassando direta e indiretamente no interior da comunicação e educação, uma vez que a perspectiva ética kierkegaardiana está indissociavelmente relacionada com a tríade educação, ética e comunicação. Nessa perspectiva, questões nodais da fi losofi a, como movimento, conceito, paradoxo, ser em situação, emoção, percepção, olhar, entendimento, sentido, existência, liberdade, verdade, aparência, imaginação, são abordadas na dinâmica da vida das personagens cinematográfi cas que funcionam como espelhos para existência individual de cada ser humano. No interior do ensaio é possível estabelecer um rico diálogo com pensadores e diretores cinematográfi cos que assumem a herança do pensador dinamarquês como Gilles Deleuze, Merleau-Ponty, Berg

The following article analyses the adaptation of Daphne du Maurier's novella The Birds (1952) by the American film producer and director Alfred Hitchcock. The work focuses on the examination of how during the adaptation process, the analysis of the results of the transposition reveals the strict links between the cultural, social, and political aspects related to the context of production and reception. In this sense, the study focuses on the intersections, the analogies as well as the omissions and perversions of the source text that foreground the problematic relation between text and hypertext. For this purpose, the work draws on the concepts and tenets of critical feminist discourse, poststructuralist poetics, and narratology to identify how the emergent tensions product of the changes and deviations from the source, discursively deploy relevant matters related to the criteria of authority, creativity, and intentionality. Finally, this article proposes a metatextual reading of the film that enables us to capture the transcendence of the hypotext as a spectral text that actualizes the vicissitudes of the masked practices and politics of androcentric and heterosexual aesthetics responsible for the historical pervasiveness of subjugation of female bodies and the silencing of their voices.

Jane Austen is a pioneer who introduced a unique literary style to the Regency era. Austen's works united the art of shrewd observation with her sharp wit and satire, portraying the Georgian middle class in a groundbreaking way. However, does the gravity of her work still hold true 200 years later?

Vladan Krečković's poetry collection Pariz, Teksas ("Paris, Texas") (2020) is one of the more recent books released by PPM Enklava, a fairly young, but renowned Serbian publisher focused mostly on poetry. Similar to other Serbian contemporary literary works, for instance Nikola Đurica's poetry collection Noćne životinje ("Nocturnal Animals") (2020) from the same publisher, Krečković's book features prominent references to films. Already the titles of these two collections of poetry, which explicitly point to Wim Wenders' and Tom Ford's cinematic achievements -Paris, Texas (1984) and Nocturnal Animals (2016)demonstrate that visual culture and, especially film, occupy a privileged place and represents a point of departure for these two Serbian poets. If poetry in the past was thought to be one of the sources of cinematic creativity (cf. Kramer and Röhnert 2020, 5), the case of Krečković's and Đurica's works shows a shift: Here cinematic achievements become a source of poetic creativity. The approaches of these two poets to the subject, however, differ significantly, indicating that there are multiple ways in which contemporary Serbian poets treat film as a source. On the one hand, Đurica does not explicitly refer to Nocturnal Animals as cinematographic work nor to the plot or scenes from Ford's film, except in the title of his work. The title of the film serves as a starting point for the development of the book's leading idea about the changeability, fickleness, and the most deeply hidden sides of human nature. Just as nocturnal animals hide from the sunlight and are only active after dark, one's genuine traits and intentions, as Đurica's book suggests, can be discerned only when one embraces one's own solitude and darkness. Krečković, on the other hand, relies on Wenders' film more openly and more often. The evocation of the plot, themes, and motifs represented in the film but also the poetical reshaping of the entire scenes, enriching them with additional observations and meditations, reveal an intermedial quality in the form of media transposition (cf. Rajewsky 2005, 51) in this book. Furthermore, Wenders' film as the most prominent reference in the poetry collection becomes a lyrical persona's tool for introspection. Yet, the question of how the intricate relationship between poetry and film is established in Krečković's poetry collection does not only concern explicit references to the latter (as in the titles of the mentioned poetry works) or the transformation of the material from one medium into another. It also concerns the question of the film's impact Open Access.

The article presents and examines an overlooked interview from 1959 by Ettore Zocaro with Carlo Emilio Gadda, where the writer discusses his relationship with cinema and Pietro Germi’s film, "Un maledetto imbroglio", which is an adaptation of his novel "Quer pasticciaccio brutto de via Merulana". The critical note preceding the interview reconstructs Gadda’s screenplay endeavours and his involvement in Germi’s project, while also addressing issues of censorship through Gadda’s comments and the presentation of unpublished documents from the Central State Archive in Rome concerning "Un maledetto imbroglio".

https://www.interlinea.com/scheda-fascicolo/giovanni-battista-boccardo-luca-carlo-rossi/censura-e-autocensura-tra-otto-e-novecento-9788868576097-435228.html

En este texto se hace un acercamiento a las relaciones entre
Venustiano Carranza y el cine en tres principales aspectos.
En primer lugar, se describe cómo este político mexicano
llegó a interesarse por las imágenes en movimiento, como resultado de su gusto por su representación fotográfica, poco
después del alzamiento constitucionalista derivado del asesinato del presidente Francisco I. Madero en 1913. Después se muestra
cómo durante su administración como presidente (1917-1920) se produjo
un fuerte patrocinio estatal a la filmación y difusión de películas documentales de carácter propagandístico, a través de
varias Secretarías de Estado. En tercer término, se refieren las
acciones de ese mismo gobierno relativas a la instauración de
políticas públicas que permitieron la creación de una cátedra para la enseñanza de algunos de los oficios del cine y una
oficina censora. También se muestran en el ensayo las
dos posturas gubernamentales tomadas respecto al cine en
el breve periodo de Adolfo de la Huerta como presidente sustituto: una vez muerto Carranza y desmantelado su gabinete,
algunas dependencias mantuvieron el interés por producir y
difundir películas de propaganda, ampliando incluso su alcance hacia el campo de la ficción.

En este libro se hace una descripción cronológica de los principales acontecimientos en las esferas de la producción, distribución y exhibición de cine silente en las tres principales ciudades de la región mexicana de La Laguna: Torreón, Gómez Palacio y Lerdo. El periodo abre cuando los exhibidores itinerantes llevaron ahí las primeras imágenes en movimiento a principios del siglo XX y termina cuando empezaron a mostrarse películas sonoras en los años treinta. Ese recorrido también conduce a la recreación de sucesos relacionados con el teatro y otros espectáculos, para ofrecer la imagen multidimensional de una zona de la cultura regional en un periodo de poco más de tres décadas.

I Have No Mouth, and I Must Scream is a post-apocalyptic short story by American writer Harlen Ellison, published in the year 1967. It is a story about a supercomputer named AM. AM is a creation of humanity that eventually rebels and destroys humanity. AM hates humans so much. It keeps 5 humans alive to torture them continuously just to show its hatred to them. This story has disturbing themes of despair that embody the dark future that awaits us and the potential destruction caused by uncontrolled technological advancement and human hubris.

Edward Albee's The Zoo Story is about the interaction between its two main characters Peter and Jerry dramatizing the former's disillusionment in the hands of the latter; Jerry's speech and action aim at shattering Peter's obsession with material things, his easy justification for stability, and his reluctance to understand the alienation at the core of his life. Jerry's success in changing Peter comes at the cost of his life; however, there are interesting techniques deployed by him in order to convert Peter from an incommunicative person to someone who finally understands the value of human connection. Concentration on the conflicts between the two characters, detecting the causes of their alienation, and finally analyzing the techniques that Jerry employs to convert Peter, are the main issues discussed in this study with the hope to enlighten the hidden corners and revealing the implied meanings of a play which is quite rich in its symbolic suggestiveness.

The aim of this study is to investigate the various dimensions of the phenomenon, modern, film tourism and its contribution to the local development of cities with the arrival of cinema tourists. For the needs of the study, a quantitative survey was carried out in the form of questionnaires, which were distributed in cinemas and in a central metro station in the Athens area.

In Daphne du Maurier’s novel Jamaica Inn (1936), Mary Yellan’s journey through the
Cornwall country and her tortuous stay at her uncle’s hotel is filled with omens that work as
warnings of the horrors she will encounter and as premonitions of her own destiny. This bad
luck is understood as a heritage from the Merlyns’ cursed bloodline that has now intoxicated
her family due to her aunt’s marriage. However, Mary’s prejudice will keep her wary of
mystic elements along the story, thus restraining her from understanding a bigger picture of
the threats that surround her.

The article will be divided into three parts: 1. Explain the literary origins of the nesting pattern and its relationship to cinema narrative, and analyse the nesting tactics commonly used in films under Hollywood’s classical narrative. 2. Describe the variations in nested structures in films made in the 1990s, focusing on self-reflexive nesting, which emerged as a new model beyond conventional nesting during this period. 3. Distinguish the literary style of embedded narratives from the visual recognition mode and provide an example of how the latter is used in films to create impossible puzzles.