Game Of Shadows Research Articles

Tyrannous Minds and Tamed Bodies: The Curious Case of Irene Adler from Canon to Screen

Appearing in the singular short story “A Scandal in Bohemia” in Sir Arthur Conan Doyle’s Sherlock Holmes series, the character of Irene Adler has been adapted and reconstructed in subsequent literary and visual media. Twenty-first century screen adaptations have swivelled upon postfeminist re-appropriations of the character and overt sexualisation of the ‘body’, thereby engaging in reassessment of the Irene-Sherlock relationship and problematizing gendered presentations of the character. Locating Irene in a heteronormative space, such narratives have attempted to revise the image of the cross-dressing ‘adventuress’ through varied portrayals which seemingly broaden her scope by means of her deliberate transgressions of fixed gender tropes. This article, by taking into account the gendered power-play embedded in three popular twenty first century screen adaptations of the text, namely, the films Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011), CBS’s Elementary (2012-2019) and BBC’s Sherlock (2010-2017), scrutinizes the dilemma of presentation of Irene Adler through the lenses of sexual dynamics and gendered performances.

In praise of light and shadows

The interaction of light and shadow has always fascinated architects, and even more so since Le Corbusier’s famous quote from 1923, published in Vers une Architecture, in which he describes architecture as “the learned game, correct and magnificent, of forms assembled in the light”. This game, which thus motivated the painters of Purism and Cubism – among whom Le Corbusier would come to be included – contributed in great part to the definition of the aesthetic ideals of the artistic avant-garde in the West in the first half of the 20th century. Associated with the purity of crystal, with the idea of total transparency, and with the blurring of the boundaries between the interior and the exterior, this very same game served as the conceptual premise of (and later as a critical challenge to) the architecture of the Modern Movement. The counterpoint to the purist and crystalline impetus of modernism would emerge, and indeed one of many, by way of “In Praise of Shadows”, a reference to the book written in 1933 by Junichiro Tanizaki. In this work, the author examines how Oriental culture (in contrast with Western culture) has always sought to shield the interior space from the invasion of light and from exterior views by use of trees, porches, patios, shutters, and translucent sliding doors or dividers (the Japanese shôji). It is not by accident that many of these traditional elements would once again come to be adopted by Western architecture from the late 1950s onward in its search for vernacular values deriving from a broad variety of cultures. Having studied in these seminal years of critical review of the Modern Movement and coinciding with the publication of the Survey on Regional Architecture in Portugal – (Inquérito à Arquitetura Popular em Portugal) (1955-1961), the young architect Álvaro Siza learned from Fernando Távora – his former teacher and mentor – to appreciate not only the effect of light on forms (Távora himself admitted to being an avid admirer of Le Corbusier), but also to stroll about the shadows in traditional habitats (Távora would gather important teachings from Japanese architecture during his grand tour in 1960 and filtering it through another great influence of his: Frank Lloyd Wright). These different “phantom-characters” would come to also occupy the imagination of the young Siza, and to them he added references to Alvar Aalto, Bruno Taut or Adolf Loos, at the moment of considering the relationship between the individual and the collective space, between the domestic and the monumental scale, between the window and the city. The photographic work of Mark Durden and João Leal focusing on Álvaro Siza’s work in Porto – now published by Scopio Newspaper – goes in search of not only this same game of shadows upon the target surfaces of the façades and the interiors of the buildings but also the multiplicity of transparencies and penumbras that unfold through their ample glazed windows. [...]

An Analysis on Main Character's Costume in the film <Sherlock Holmes: A Game of Shadows> from the Perspective of Genre Mix

An Analysis on Main Character's Costume in the film <Sherlock Holmes: A Game of Shadows> from the Perspective of Genre Mix

The Typesetter of James McTeigue's The Raven: Poe's Dual Fandom in Post-Millennial Transmedia Culture

Abstract Over the first two decades of the twenty-first century, Edgar Allan Poe's characters and persona have thrived in ever mutating incarnations appealing to wider audiences around the world. Some of these Poe-inspired mash-up incarnations are instilling in the public new doses of enthusiasm and fervor for everything related to Poe's work and persona. In our post-millennial transmedia culture Poe fans are actively engaged with refashioning and adapting everything they adore about Poe's work and life. Thus, Poe fandom plays a pivotal role in disseminating new Poe-inspired adaptions across a wide array of media platforms. Thanks to what Henry Jenkins calls “participatory culture,” the post-millennial Poe has reached the status of an “industry unto itself.” After all, participatory culture, Jenkins concludes, “is anything but fringe or underground today.” However, as I try to argue, Poe's ubiquitous presence in post-millennial popular culture has been boosted by a new phenomenon. I'm referring to the merging of modernized traits of two of the most popular characters ever to emerge from the pages of the mystery genre: C. Auguste Dupin and Sherlock Holmes. The upshot of this is the convergence of the Poe fandom and the Sherlock fandom, two of the most active fandoms in transmedia culture. James McTeigue's 2012 film The Raven tries to pander to the tastes of this dual fandom by capitalizing on the success of the BBC series Sherlock and Guy Ritchie's Sherlock movie adaptations, Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011).

AN ANALYSIS OF METAPHOR TRANSLATION IN THE SUBTITLE OF SHERLOCK HOLMES 2: A GAME OF SHADOWS (2011) MOVIE

A metaphor has been a conflict in subtitling for its cultural-specific sense and challenging translatability. Consequently, the translators tend to omit the metaphors. This study attempts to find out the categories of conceptual metaphors and applied strategies in the subtitles of Sherlock Holmes 2: A Game of Shadows (2011). This study applies the Combined Strategies proposed by Lindqvist (Pedersen, 2015). The results indicate that analogy, personification, and image metaphors appear in the movie. The translator applies five of nine proposed strategies in this study. The most frequently applied strategies are word-for-word translation and paraphrase strategies. No omission occurs, but the study discovers that the translation appears to be less natural and fails to transfer the cultural essence from the English metaphors.

De la gestion des fantômes du nihilisme. La réponse de la Destination de l’homme

The accusation of Nihilism, which Jacobi expressed in his Letter to Fichte, marks a caesura in Fichte’s production. Reputed to be the paradigmatical representantive of a philosophical tradition letting any reality dissolve in a simple game of shadows, Fichte sees himself constrained to clarify the status of the image in his system. This paper aims to examine the strategy to which he has recourse in the Destination of Man, in order to find an answer to the attack.

Revolting Against Imperialism and Capitalism in Sherlock Holmes: a Game of Shadows (2011)

The purpose of the study was to reveal the struggle among imperialism, capitalism, and social class dominance found within Guy Ritchie’s A Game of Shadows (2011), which was set in Britain, France, and Germany in 1891. British imperialism, capitalism, and social class were very well-related since they formed the basic classic social tradition in European countries that confined minorities such as working-class people and immigrants. The study was particularly focused on (1) the imperialist and capitalist representations were portrayed by Professor Moriarty as the much honoured academic figure who was able to disguise his criminal activities, and (2) the revolt of the marginalized people which were represented by the working-class; Gypsy immigrant minorities who are isolated from the imperialist West European social class strata. The study was conducted using the perspectives of AJ Greimas’ narrative structure through identifying all of the sequences and actantial models of the film, as well as relating them to capitalism and social class issues. The result of the study shows that the film has managed to show the success in fighting against imperialism and capitalism that initially determine the characters’ positions.

The Curious Transformation of Boy to Computer

The Curious Transformation of Boy to Computer

Back and forth and forward: Metareference in recent film adaptations

Abstract This article explores the phenomenon of metareference within two recent adaptations, Sherlock Holmes: A Game of Shadows (2011) and The Adventures of Tintin (2011), each of which adapts a body of work already adapted across a wide range of media. This article argues that by employing metareference, a self-reflexive strategy that seeks to engender an awareness of media properties among audiences, these films self-reflexively address cinema’s potential as a medium for adaptation. However, rather than marshalling these films in an assertion of cinema’s superiority, this article suggests that they explore anxieties over cinema’s changing position in the media landscape, ultimately reflecting broad shifts in our perception of film adaptation.

Holmes + Moriarty = Mathematics

In the autumn of 2011 the movie Sherlock Holmes: A Game of Shadows appeared (see [1]). It was a sequel to the Holmes movie from two years earlier. Unlike the first movie, A Game of Shadows Holmes' arch enemy Professor Moriarty featured more prominently than Holmes himself.One scene, in particular, has Holmes sizing up his opponent by making a visit to Moriarty at his university office. But in the background sits Moriarty's blackboard, filled completely with mathematical equations, symbols, drawings, and formulas. One of these deserves our special attention.

Dental fluorosis and periodontium: A game of shadows?

Dental fluorosis is a condition which is said to be present when the morphologic features of a tooth are altered clinically, in the form of discoloration or anatomic malformation which is attributed to the developmental changes induced by excess fluoride levels in plasma at the time of tooth formation. In India, an estimated 60 million people are at risk and 6 million people are disabled due to fluorosis. Lack of understanding into the effects of fluorosis on periodontium has left a blind spot in the vision of management of periodontitis in such patient groups. This article suggests the important connection these two conditions can have and emphasize research in this study field.

A content analysis of tobacco and alcohol in popular UK films: an update

BackgroundExposure to tobacco and alcohol imagery in films is strongly associated with uptake and consumption of both tobacco and alcohol in young people. In an analysis of popular UK films over the 20 years from 1989 to 2008, we have previously documented substantial tobacco and alcohol content in films marketed to children and young people. In view of increasing awareness of the potential harm of this exposure, this study was undertaken to assess whether these exposures continue to be prevalent in more recent films, by analysing the most popular films in the years 2009–11. MethodsOccurrence of tobacco (tobacco use, implied use, tobacco paraphernalia, and tobacco brand appearances) and alcohol (alcohol use, inferred alcohol use, other alcohol reference, and alcohol brand appearances) imagery was measured by 5-min interval coding in the 15 most commercially successful films in the UK in each year from 2009 to 2011. Each 5-min period of film was coded as positive for each category of tobacco or alcohol imagery, or both, if at least one such incident occurred during the 5-min period. FindingsAll of the 45 most popular films for 2009–11 were rated by UK film classifiers as suitable for youth audiences (those aged younger than 18 years). Any tobacco was present in a third of all films (15 of 45), whereas any alcohol was present in more than four-fifths (37 of 45 [82%]). Tobacco use occurred in 11 films, and alcohol use occurred in 26. Tobacco branding was infrequent, but two brands, Marlboro and K & J, were clearly identifiable. Alcohol branding was far more frequent, occurring in 22% (ten of 45) of films, with the most frequently occurring brands being Jagermeister, Singha, and Budweiser. When combined with earlier findings using the same methods in films from 1989 to 2008, tobacco was present in 65% (225 of 345) of films, and alcohol in 86% (295 of 345) of films. Tobacco content in each of the coded categories decreased between 1989 and 2010, but increased again in 2011, largely as a result of two films: The King's Speech and Sherlock Homes: a Game of Shadows. Alcohol content fluctuated over the 23 years, without any significant decline overall (p>0·05). Overall, the most commonly represented tobacco brands were Marlboro, Silk Cut, and Embassy, and the most common alcohol brands were Budweiser, Miller, and Coors. InterpretationAlthough conventional tobacco promotion is heavily restricted in the UK, tobacco imagery continues to be evident in films classified for and popular with youth audiences. The amount of tobacco content in films has decreased over the years but increased again in 2011. Alcohol advertising and promotion remains largely self-regulated in the UK, and there has been no appreciable reduction in any alcohol depictions in youth classified films. UK film regulators are aware of the effects of film content on youth audiences, but in practice do not seem to consider either tobacco or alcohol imagery in the age classification process of films suitable for young people. FundingThis research was done as part of the research undertaken by AL as part of a research fellowship funded by the UK Centre for Tobacco Control Studies, which is a UKCRC Centre of Public Health Research Excellence. Funding was from the British Heart Foundation, Cancer Research UK, the Economic and Social Research Council, the Medical Research Council, and the Department of Health.

Mobility, Interrupted

Sherlock Holmes: A Game of Shadows (UK and USA, 2011, Warner Bros. Pictures, Directed by Guy Ritchie. Screenplay Kieran Mulroney and Michele Mulroney. With Robert Downey Jr., Jude Law, Jared Harris, Noomi Rapace).

Game of Shadows by Mark Fainaru‐Wada and Lance Williams (2006), Gotham Books

Game of Shadows by Mark Fainaru‐Wada and Lance Williams (2006), Gotham Books