Movie Version Research Articles

"Without Even His Hat Took Off": Faulkner's Sanctuary

"Without Even His Hat Took Off":Faulkner's Sanctuary William Brevda In his infamous introduction to the Modern Library edition of Sanctuary, William Faulkner stated that he wrote the original version of the novel just "to make money" (v). Angry and frustrated about his difficulties getting Sartoris and The Sound and the Fury published and being told that Sartoris was not going to sell, Faulkner decided to write a more commercial novel: "I took time out, and speculated what a person in Mississippi would believe to be current trends, chose what I thought was the right answer and invented the most horrific tale I could imagine" (vi). Although Faulkner did not identify these trends, it is safe to say that they were the gangster phenomenon, the vogue of Freudianism, movies, sex, and fashion. Faulkner exploited popular trends to make money, but he also parodied them for a laugh. Sanctuary is primarily a gangster novel, but it is also a criticism of the artificiality of modern life. The attributes of Popeye are the attributes of a material object. Faulkner's gangster has no self that is separate from his things or from the current trends out of which he has been fashioned. The indifference of Popeye and Temple Drake to their own corruption is the indifference of the inanimate world in their lack of a conscience. Sanctuary is a gangster Waste Land, as Faulkner might have expected even a person in the "Sahara of the Bozart" (Mencken) to recognize, breeding gangsters out of the dead land. Sanctuary depicts a world of dead matter and spiritless "already dead" people (Sanctuary 115). Pop-eye is the most "thing-like" character, but all the characters, as I argue in this essay, are hat-like (Adamowski 32). How would we know the gangster without his gat and his hat? The gat is important, but the hat is essential. Writing a gangster novel would have seemed like a good way to make money in 1929 when Faulkner began writing Sanctuary. Damon [End Page 393] Runyon's first four Guys and Dolls stories were published in Cosmopolitan magazine in 1929. That year Donald Henderson Clarke's Louis Beretti sold 11,000 copies and another 99,000 when the movie version Born Reckless was released in 1930. Armitage Trail wrote Scarface in 1929. It was published in 1930 and released as a film in 1932. Also published in 1929 were Frank L. Packard's The Big Shot and W. R. Bur-nett's Little Caesar and award-winning short story "Dressed to Kill." The pulp magazine Gangster Stories began publication in 1929. All an author needed in 1929 to make a killing in the popular market was a tough Italian gangster, or so it must have seemed to Faulkner, who needed money for his impending marriage. Popeye's ethnicity is a pop culture stereotype: he is pop Eyetalian. Faulkner's writing of Sanctuary coincided with Al "Scarface" Capone's well publicized reign as the "King of Gangland" from the mid-1920s to 1931 (Enright 85). On February 14, 1929, one month after Faulkner began work on Sanctuary, the media coverage of the St. Valentine's Day Massacre turned Capone into a national celebrity. In March 1930, Capone, the personification of the gangster myth, made the cover of Time Magazine (nine years before Faulkner did). That same year, Fred D. Pasley popularized the Capone legend in Al Capone: The Biography of a Self-Made Man. Popeye is not Al Capone, and even Capone said that he did not belong in Pasley's book "any more than I belong in a book by Horatio Alger" (Ruth 118), but Capone is the archetype of the literary and cinematic gangster. When Faulkner "took a little time out, and speculated what a person in Mississippi would believe to be current trends," it would not have taken him long to identify them and to see how they were related (Introduction vi). In a 1930 story by Runyon, a character based on Walter Winchell uses Freudian lingo to call the public's obsession with gangsters "an underworld complex" ("Social Error" 70). This fascination with "gangster chic" had a lot to do with...

A Texan's Story: The Autobiography of Walter Prescott Webb ed. by Michael L. Collins

Reviewed by: A Texan's Story: The Autobiography of Walter Prescott Webb ed. by Michael L. Collins Richard B. McCaslin A Texan's Story: The Autobiography of Walter Prescott Webb. Edited by Michael L. Collins. ( Norman: University of Oklahoma Press, 2020. Pp. 248. Illustrations, select bibliography.) Graphs increasingly define academics today. In one popular format, after a median line connecting a series of important points is established, all other performances are judged in relation to it. Like it or not, Walter Prescott Webb remains that line for those who write Texas history. That centrality makes this manuscript, flawed as it is, important for anyone interested in Texas or in writing and teaching history. It does not cover every aspect of Webb's life because he wrote it in 1943, twenty years before he died. Obviously, it was also never intended for publication. It is poorly written, with many repetitions and inconsistencies. The editor does little to correct its shortcomings—there is no index, the bibliography is scant, and the only footnotes come in his epilogue. But while Michael L. Collins errs in declaring this to be a "masterpiece of literature," he correctly asserts that it is a "surprising treasure trove of folk wisdom," with "many brilliant gems scattered throughout" (3). Those seeking personal insights will find them. Webb makes it clear that what drives him, and any successful person, is "desire" (74). Reflecting on his success, he adds, "I never have been able to work to a pattern furnished by others, a trait which has brought rich prizes and deep humiliations" (113). This belief resurfaces in a declaration concerning his greatest literary prize: "Whatever success has attended the publication [of] The Great Plains may be attributed to the fact that it is based on an independent concept and executed without regard to anything that had been done before" (15). A careful reader will also realize that Webb was a prodigious researcher with an unflagging work ethic. Pondering why he wrote books instead of articles for academic journals, he quips, "I preferred to hit the public with a solid shell rather than bird shot" (134). Webb did write short pieces; however, the amount of work required for them meant he tried to publish more than one at time. Finally, country boy humility and humor explain why he never had this memoir published: "My life has been a succession of deep humiliations and pleasant surprises and just why I should feel an impulse to set some of them down on paper is something I cannot explain" (17). [End Page 113] Webb's perspectives on the events of his life are priceless. Those interested in frontier Texas should read his reflections on being a farm boy in the Cross Timbers, which he believes has "produced more schoolteachers, country lawyers, preachers, and penitentiary inmates in proportion to size and population than any region of West Texas" (60). Beleaguered graduate students must study his advice to both them and faculty on academic relationships, especially during his "tragic year" at the University of Chicago (138). Frustrated writers will gain much from his passages on writing, although those who teach English might well be offended. As to why the movie version of his landmark book on the Texas Rangers bore little resemblance to what he wrote, Webb drily admits, "By the time the Hollywood lawyers get through with an author, he has renounced everything save the fact that he wrote a book, and he may be a little uncertain about that" (182). Readers who want the facts of Webb's life should look elsewhere, perhaps to books with indexes and footnotes. But those who want to know more about Webb's perspective on his life will find it here, and for that Collins is to be commended for letting the man speak for himself. Richard B. McCaslin University of North Texas Copyright © 2021 The Texas State Historical Association

Antonio Tabucchi e a constante inconstância do amor na pós-modernidade

Antonio Tabucchi, escritor italiano falecido em 2012, ganhou notoriedade pela tradução, pesquisa e difusão da obra de Fernando Pessoa. Como ficcionista, alcançou êxito a partir da década de 80 com a publicação de livros como O jogo do reverso (1981) e Afirma Pereira (1994). Desde então, destacou-se no cenário dos grandes nomes da literatura contemporânea com uma extensa e variada produção literária traduzida para diversas línguas e com adaptações para o cinema. Seus textos, permeados de características do pós-modernismo, apresentam-se ao leitor como um retrato da observação da realidade e dos sujeitos em constante transformação e instabilidade. Exemplo disso é o texto aqui destacado, “Bom como você é”, que compõe a obra Está ficando tarde demais, publicada em 2001. Desenvolvido em forma de epístola, a carta problematiza uma das facetas mais presentes e mais passíveis de mudanças na vida humana: o sentimento amoroso. Assim, o artigo tem por objetivo refletir sobre a obra de Tabucchi, investigando seus diálogos com a pós-modernidade e a forma com que aborda questões tipicamente contemporâneas como a fragilidade das relações, a inconstância que cerca o indivíduo e a fluidez das identidades.

A Stylistic Analysis of Francis Ford Coppola’s trilogy Movie the Godfather

Crime movies, according to the IMDbwebsite, are the most popular film's genre in Hollywood. However, gang movies are part of crime films that reflect Mafia groups and their struggle for richness and power. This type of film usually includes a lot of weapons, Mafia families, and violent scenes. The present study aims at presenting the stylistic characteristics as reflected in Francis Ford Coppola’s Trilogy Movie The Godfather. The goal of the present studies is to guide the reader in examining the linguistic organization of a literary text in order to achieve understanding. By doing so, it provides the reader of literary text's various benefits, among which is improving the traditional way of thinking about the language. In addition, it reveals the function of certain aspects in a text and helps in understanding the role of these functions in supporting the text in achieving what it does. The research question is an attempt to know whether the use of stylistic analysis approach gives the audience better understanding of The Godfather movie or not. The findings indicate that the application of the theory of stylistic analysis to the movie version of The Godfather determined its ability in supporting people's comprehending and grasping of literary works thoroughly. Thus, researches were recommended, such as studies on the writing style of other novels; as well as studies on other movies using stylistic analysis. Up to the researcher’s knowledge, there were no previous studies on the stylistic analysis of Francis Ford Coppola’s trilogy Movie The Godfather.

Constructing and Contesting the Shrine: Tourist Performances at Seimei Shrine, Kyoto

Japanese Shinto shrines are popular pilgrimage sites not only for religious reasons, but also because of their connections to popular culture. This study discusses how tourism is involved in the construction of the shrine space by focusing on the material environment of the shrine, visitor performances, and how the shrine is contested by different actors. The subject of the study, Seimei Shrine, is a shrine dedicated to the legendary figure Abe no Seimei (921–1005), who is frequently featured in popular culture. Originally a local shrine, Seimei Shrine became a tourist attraction for fans of the novel series Onmyōji (1986–) and the movie adaptation (2001). Since then, the shrine has branded itself by placing themed statues, which realize the legend of Abe no Seimei in material form, while also attracting religious and touristic practices. On the other hand, visitors also bring new meanings to the shrine and its objects. They understand the shrine through different kinds of interactions with the objects, through performances such as touching and remembering. However, the material objects, their interpretation and performances are also an arena of conflict and contestation, as different actors become involved through tourism. This case study shows how religion and tourism are intertwined in the late-modern consumer society, which affects both the ways in which the shrine presents and reinvents itself, as well as how visitors understand and perform within the shrine.

Reading and Rebellion in Catholic Germany, 1770–1914

Reading and Rebellion in Catholic Germany, 1770–1914

Um século na vida de Peter Pan: a personagem de James Barrie e as suas metamorfoses cinematográficas

Neste artigo analisam-se as diversas representações que a personagem Peter Pan, da obra literária de James Barrie, Peter Pan, publicada em 1911, foi assumindo ao longo de mais de um século em adaptações cinematográficas (neste caso, de 1924, 1953, 2003 e 2015). A complexidade da personalidade de Peter Pan, nos seus dilemas interiores, sofre metamorfoses diversas nos processos narrativos de adaptações transliterárias e multimodais, onde o papel dos espaços na construção da própria personagem é determinante. Interessam-nos as potencialidades da personagem e das estratégias discursivas para representação das relações entre mundos reais e mundos para lá do real, de formas de ver a infância e a vida adulta, o mito da eterna infância feliz e o seu complexo reverso de solidão. A refiguração da personagem também se concretiza através das suas relações afetivas com os outros, condicionadas, em parte, por valores sociais dominantes diversos ao longo dos séc. XX e XXI, como é o caso das questões de género, que se colocam na relação de Peter Pan com as personagens femininas Wendy, Sininho e a figura materna.

Mulher Maravilha (2017): Um filme de Segunda Guerra Mundial ambientado na Primeira Guerra Mundial

Mulher Maravilha, adaptação para o cinema de 2017, dirigida por Patty Jenkins, oferece um olhar contemporâneo sobre a Primeira Guerra Mundial. Contudo, as histórias em quadrinhos que servem de material fonte para a adaptação são produtos da chamada “Era de Ouro” dos quadros de super-herói estadunidenses, e são marcadamente produtos do período da Segunda Guerra Mundial. Portanto, a adaptação efetua um processo de deslocamento cronológico da ambientação tradicional da personagem Mulher Maravilha. Esse deslocamento tem efeitos diretos na recepção da obra – efeitos em grande parte causado pelas profundas distinções entre os mitos de cada uma das duas guerras mundiais (HYNES, 1992, 1998). Esse trabalho investiga os efeitos desse deslocamento e suas consequências para um olhar contemporâneo sobre a Primeira Guerra Mundial.

Doubles in a Science Fiction Screenplay and Film: Alexander Payne's Downsizing as a Case Study in Doubling and Duality

Doubles in a Science Fiction Screenplay and Film:Alexander Payne's Downsizing as a Case Study in Doubling and Duality Laura L. Beadling (bio) Introduction Doubles have long been a fascination for all forms of cultural representations, from novels and poetry to films and graphic novels. From Dostoevsky's novella The Double to Anne Sexton's poem "The Other" on the high side and films like Multiplicity (1996) and Dave (1993) on the low side, doubles and doppelgangers are everywhere in art. As Gordon E. Slethaug notes, "[t]he roots of the tradition of the double are very deep indeed and go back to the first written records, and perhaps even earlier" (100), managing to be both "very ancient" and a "very contemporary phenomenon" (106). Doubles are also a subject that appears in many genres, although some genres may be more amenable to the theme than others. Certainly psychological thrillers like Vertigo (1958), Dead Ringers (1988), and Black Swan (2010), to name only a few, show how easily the idea of doppelgangers and doubles can be woven into that genre. Likewise, science fiction has a long and rich history of using doubles and duality as subject and theme. This appears in some of the earliest work in the genre, like Frankenstein—of which Aija Ozolins notes that the "motif of a second self-constitutes the chief source of the novel's latent power" (104)—and in classic novels that are still being revisited in various media like Dr. Jekyll and Mr. Hyde, which [End Page 53] has recently been made into several movie adaptations, graphic novels, young adult retellings, and video games. In particular, science fiction literature and especially film has a rich tradition of doubling in terms of size. Consider Gulliver's Travels and Alice's Adventures in Wonderland in literature and The Incredible Shrinking Man (1957), The Fantastic Voyage (1966), Fantastic Planet (1973), Innerspace (1987), Honey, I Shrunk the Kids (1989), and Ant-Man (2015) in film. J. P. Telotte analyzes Forbidden Planet (1956) not only because it uses duality and doubles extensively but also because it demonstrates "more generally" the issue of doubling "as it surfaces throughout our science fiction films." As a film full of various kinds of duality and doubles, Telotte argues, Forbidden Planet can be read as a commentary on the use of this trope in much of science fiction and, in particular, the "double vision" of the simultaneous lure and threat of technology (26). This is also clearly seen in Alexander Payne's Downsizing (2017), in which the scientific process of downsizing is proposed as a solution for resource depletion and overpopulation but also causes its own woes (as is customary for any new technology in a science fiction film). Frank Dietz notes that many scholars identify psychology as the best tool for analyzing doppelgängers and doubles in literature and film, and that approach generally sees doubles as "a projection of repressed aspects of the psyche." Dietz goes on to argue that this critical lens is "insufficient for the field of science fiction" because the genre is founded on a presumption that science can create narrative worlds in which "the existence of doubles is literal fact" (210). Thus, psychology loses its explanatory hold on the trope of doubling and duality in this generic context. Alexander Payne's screenplay (written with his longtime writing partner Jim Taylor) and film Downsizing (2017) takes advantage of this presumption by depicting a scientific breakthrough that allows people to shrink themselves to one-fifth their original size. This in turn creates a mirrored set of societies, big and little. In addition, it is this same breakthrough that allows a tribe of shrunken humans to survive a global environmental disaster that makes life on the surface of the planet untenable, although this storyline is much more developed in the screenplay version than in the theatrical release of the film. Two doubles are of particular interest: the doubled societies of the big and the little, [End Page 54] which is included in both film and screenplay, and—in the screenplay only—the doubles between the present-day main characters and the legendary figures of the future tribe of smalls...

Edgar G. Ulmer — Roger Corman — Stuart Gordon. Filmowe adaptacje opowiadania Edgara Allana Poego Czarny kot

The article entitled Edgar G. Ulmer — Roger Corman — Stuart Gordon. Movie adaptations of Edgar Allan Poe’s short story “The Black Cat” is a comparative analysis of three adaptations of a gothic short story. The attempt at finding inspirations from romantic poetics in the works of film directors, created in different decades and answering the question of how is it possible to transfer assumptions of romantic literature into movie language, was made in this text. In the movie from 1934, Edgar G. Ulmer connects gothic poetics with modernism aesthetics. He also adds historical context, referring to events in the First World War. On the other hand, taking classic literature became an opportunity for Roger Corman to play with convention. He expresses it in the adaption from 1962, in which terror gives space to humour. Stuart Gordon in turn, creates a post-modern variation based on a theme of The Black Cat, making Poe himself the main character of the movie from 2005. The important criterion of interpretation includes the motives of the Byronic hero, cat, madness and crime. Analysis of different ways to re-interpret the gothic short story leads to conclusions about filmmakers’ attitude to literary prototype. Also, the cultural context of individual adaptations was pointed out.

GRAPHIC DESIGN IN FILM: BUILDING CHARACTER IDENTITY AND VISUAL STYLE IN THE GREAT GATSBY (2013)

Graphic design and cinema have worked together since the early days of filmmaking, driven by the effort to develop autonomous visual narratives in silent films, in much through the use of intertitles. It is meaningful to recognize how graphic design elements have invariably been a part of cinema’s hybrid language, as a material of expression manifested through the visual channel together with the filmed image. The different technological milestones that shaped cinema’s development also directly influenced the use of graphic language in movies, which became more complex with time. These graphic elements are present throughout an entire film narrative, from the choice of verbal, pictorial and schematic elements in titles and animations, to the creation (and curation) of printed or handmade graphic props, signage and logos filmed by the camera. Together, they form a movie’s graphic identity, which helps to convey meaning to the narrative as well as to bring a more dynamic and authentic storytelling. Through a case study of Hollywood’s 2013 movie adaptation of the literary masterpiece The Great Gatsby, this paper intends on exemplifying the strategic use of graphic design elements throughout the movie – in the physical and virtual formal natures – aiding in the construction of characters’ identities, contextualized into the roaring 1920’s aesthetics, as well as defining a clear visual style that is consistent with director Baz Luhrmann’s unique vision for the movie. In this way, the objective is to bring awareness to the potential of graphic design in building cinematic worlds that are historically accurate, aesthetically rich, and emotionally identifiable.

The White Gaze: Critical Reflections on the East-West Dichotomy

In his much quoted verse above Rudyard Kipling revealed something of the nucleus of the long-lived tradition of Orientalist thought. According to J.J. Clarke, the ambivalence of the West towards the East is age-old. This ambivalence largely stems from the difference in religion and culture that the two poles share. Religion, an act of cultural construction circulates in a particular form and culture thereby, can be said to be a definer of character. Every culture thus develops its own particular values and beliefs. Elucidating this concept further, the paper intends to examine this thought by applying Said’s study of Orientalism to hegemonically Western discourse about the East and seek to highlight the fact that the East-West dichotomy is a result of ‘selective cultural mapping’, a deliberate attempt to alienate the East. To lay bare the East-West dichotomy and highlight the West’s selective cultural mapping of the East, the paper will analyze E.M Forster’s A Passage to India (1924) and its movie adaptation by David Lean and will do a comparative study. Furthermore, I will concentrate on highlighting the West’s fear of islamophobia and the consequences arising from it with due reference to the movie Khuda Ke Liye (2007), a Pakistani Urdu movie by Shoaib Mansoor.

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).

O insólito em stardust: análise intermidiática

Este trabalho discute alguns aspectos relacionados ao insólito para a adaptação do romance Stardust, de Neil Gaiman para uma obra cinematográfica. Utiliza-se aqui o trabalho de Linda Hutcheon sobre teoria da adaptação para averiguar os aspectos de aproximação e distanciamento entre as obras. No que tange ao insólito, parte-se das reflexões de Tzvetan Todorov sobre o fantástico, os desdobramentos dessas reflexões nas obras de Remo Ceserani e David Roas, chegando, por fim, ao trabalho sobre o insólito desenvolvido por Flávio Garcia. Metodologicamente, o trabalho tece uma breve comparação para chegar ao objetivo de demonstrar as semelhanças e diferenças entre obras adaptadas para diferentes linguagens.

Intermedial Transformation in Comic Book Movie Adaptation of X-Men: First Class

The objects of this study are eight X-Men: First Classcomic books, volume 1 published from September 2006 until April 2007 andX-Men: First Classmovie made in 2011.Texts in the forms of dialogues and visual images taken both from the comic books and the movie are the data which then are analysed qualitatively. Applying intersemiotic translation promoted by Zecca, this study is trying to uncover how social and economic factors influence translation process and whether there are any continuity and changes along the process.
 The study focuses on the social and economic aspects involved in the process of transforming X-Men: First Class comic books as the source text, into the movie version as the targeted texts. Some adaptation and changes occurred as the consequence; plot and story lines are twisted, characters involved are replaced for the purpose of meeting the expectation of the targeted market of the movie. Supported by those who were involved in the process and the social issues echoing at the time when the process is happening, the social issues depicted in the texts are also sifted.

New World Classics: Receptions of Antiquity for Modern Children

Students of classical reception are paying increased attention to the memorable first encounters with classical culture that occur in childhood. Accounts of the ancient world composed for (or regularly read by) children, in myth collections, historical novels, and history texts, represent one of the most widespread and influential manifestations of the classical tradition, with a lasting effect on the imaginative lives of adults. Work in this area is benefiting from interdisciplinary connections, especially with the growing field of children's literature studies. Both reception studies and children's literature studies are concerned with the construction of a past, whether cultural or personal, that is in itself inaccessible but in some sense still with us. Work to date on the classics for children (as represented in a pioneering conference at the University of Wales at Lampeter in the summer of 2009) has concentrated on British texts and contexts, but the American tradition, beginning with Nathaniel Hawthorne, includes notable examples of the classics configured for children, and a panel on this topic seems both timely and well suited to the APA.This panel will consider versions of antiquity for older children from Hawthorne to the present day, with shared attention to themes of freedom and constraint as reflected both in the lives of young people and in the history of the US. Two historical papers will be complemented by two that explore current versions of classical myth for contemporary children and teenagers in different media, a fantasy novel and a video game. The panel will begin with introductory comments by one of the organizers. Each paper will last 20-25 minutes, with some questions after each paper, and there will be a general discussion, led by the organizers, among the panelists at the end. We will require audio-visual equipment suitable for powerpoint presentations and for showing clips of the video games discussed by panelist #4. The first paper will address Nathaniel Hawthorne's pathbreaking A Wonder Book for Boys and Girls (1851). Panelist # 1 will show how Hawthorne's dramatic frame and narrative technique emphasize the status of classical myths as the proper possession of modern children, whose free adaptations of those myths are truer to their original spirit than more rigid scholarly versions. Panelist # 2 will discuss historical fiction set in Roman Britain from the 1930's and 1940's, focusing on two examples, one primarily for boys, the other primarily for girls. These works figure Britain (and the provinces generally) as sites of greater freedom or renewed republican virtue by drawing on conceptions of America as a new frontier and site of utopian experiment.The third paper will concern the popular Percy Jackson series by Richard Riordan, an especially timely topic because of the recent movie version of the first in the series and because Riordan himself is based in San Antonio. Panelists # 3, who are experts in American literature and film studies, will situate the series in relation to the film thriller, especially in its construction of the adolescent hero Percy Jackson as a populist opponent to a malign superpower, here identified with the ancient gods. The fourth paper will provide a counterpoint to the previous three, turning away from narrative fiction aimed at a distinctly American audience to the newer and more international form of the video game. Panelist # 4 will discuss a recent example, the independent game Don't Look Back, in which the Orpheus myth provides the rules under which a player navigates the world of the game, setting the terms through which he or she experiences success, failure, or loss, and assesses the value of the past.

Adapting the Unthinkable: An Interview

This segment consists primarily of a transcript of the question-and-answer exchange conducted at the Huntington on May 12, 2018, between Nick Dear, the author of the 2011 adaptation of Frankenstein first presented by the National Theatre of Great Britain, and Dr. Anne K. Mellor, Distinguished Research Professor of English at UCLA. The interview was then and is here preceded by general remarks from Mr. Dear, for which he provides the following abstract: “I first remind our readers that I am a playwright, not a scholar, and that I identified a ‘gap in the market.’ Whilst there are many movie versions of the novel in existence, there has not been, to my knowledge, a stage version that was a good play. I wanted to do justice to Mary Shelley’s ‘handbook of radical philosophy’; at the same time, I stress that it’s a fairy tale, not a work of science. I then focus on the decision made with the director, Danny Boyle, to reframe the narrative from the Creature’s point of view. I go on to discuss some of the issues that this raised and the dramaturgical decisions that were subsequently made (for example, losing the framing narrative in the novel of Robert Walton on the ship). Finally, I talk about the difficulties of ending the story onstage—and my solution—given the ambivalent ending of Shelley’s novel.”

Questões contemporâneas no cinema e na literatura: o desenho de uma sequência didática para o ensino de inglês como língua adicional

This article presents the design process of a task sequence produced for an English course of the Languages and Arts Program of the Federal University of Rio Grande do Sul. Having as its theme contemporary issues in cinema and literature, the sequence was developed around movie adaptations from the Cinderella tale. The tasks were designed from authentic texts with the final production proposed being a synopsis of a movie adaptation from a literary work. The produced tasks seek to create opportunities for both meaningful language use and broadening of students’ transit in social practices that happen in the target language.

Pasolini’s Pauls

AbstractBecause Pier Paolo Pasolini never completed his movie Saint Paul, any discussion of it must be speculative. However, insofar as the film appears in Pasolini’s screenplay outline and plan, it depicts Paul, in relation to the Pauline writings of the Bible, as a seriously fragmented person. This Paul struggles with multiple personalities that are continually fragmenting and at war with one another. In this way the film fuses together in a single cinematic narrative the many “Pauls” who appear in the Pauline letters and the Acts of the Apostles. The “remixed” quality that then appears in the screenplay contrasts sharply to Pasolini’s The Gospel According to St. Matthew. The resulting story echoes some of the writings of Italo Calvino, as well as Spike Jonze’s movie Adaptation.

“How Lucky You Are Never to Know What It Is to Grow Old”—Witch as Fourth-Wave Feminist Monster in Contemporary Fantasy Film

This article focuses on the figure of an aging and powerful witch pitted against younger women in three contemporary fairy-tale movie adaptations: Snow White and the Huntsman (dir. Rupert Sanders, 2012), Hansel & Gretel: Witch Hunters (dir. Tommy Wirkola, 2013), and Maleficent (dir. Robert Stromberg, 2014). Each film transforms the aging witch from stock villain to a more nuanced character. This revision is intriguing for its concern with power and gender and for a reflection of contemporary debates about age and power within so-called wave feminism. The article uses two frames. The first is feminism and ageism, focusing on wave feminism and aging, and the second is the trope of the witch, drawing from fairy-tale studies, social history, and social anthropology. The article reads conflict between an aging witch and a young woman as a clash of feminist waves, and the witch’s ‘monstrosity’ as her refusal to be sidelined in a world obsessed with youth.