By Deborah Cartmell
It is a finished choice of unique essays that discover the aesthetics, economics, and mechanics of motion picture version, from the times of silent cinema to modern franchise phenomena. that includes more than a few theoretical techniques, and chapters at the old, ideological and financial elements of model, the quantity displays today’s recognition of intertextuality as a necessary and revolutionary cultural force.
* contains new examine in variation experiences* encompasses a bankruptcy at the Harry Potter franchise, in addition to different modern views* Showcases paintings through top Shakespeare edition students* Explores attention-grabbing subject matters akin to ‘unfilmable’ texts* contains special concerns of Ian McEwan’s Atonement and Conrad’s Heart of Darkness
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Extra info for A Companion to Literature, Film and Adaptation
97 In an extensive series of anonymised interviews with industry figures, the magazine Fade In documented the inner business workings of the studios, including widespread allegations of brutish behaviour by numerous executives – often naming names. One screenwriter claims ‘Paramount is a mess. I’ve worked on a number of movies at Paramount, and I believe it comes from the top. [Parent company Viacom Chief Executive Officer Sumner] Redstone likes instability in his executive branch. ’98 A producer claims that Fox ‘hate filmmakers, they hate producers, and they hate directors after the movie is shot … It’s common knowledge that [Chief Executive Officer] Tom Rothman hates producers.
To suggest that US foreign policy is the result of deeper, more unseemly economic and political interests is virtually unsayable. Negative consequences of warfare are not the result of government policy but rather of ‘bad apples’ or ‘rogue elements’ in the mix. The most reprehensible crimes, such as the US assaults on Indochina and the Middle East, at worst create trauma for the US itself. One of the strengths of such an approach to reading these films is that it closely resembles the Pentagon’s own view of how movies need to be constructed for its own ends.
36 Through its ownership of 80 per cent of Universal Studios, GE also became one of the world’s major storytellers. 37 Even without the presence of such ‘crazies’ and external interests, Hollywood would still produce similar material as a rule. Hollywood is controlled by a corporate mentality and the upper echelons are more liable to discourage critical, investigative, or responsible films rather than directly encourage the opposite. Still, while the image of Hollywood being run by bean-counters is relatively comforting, as we can see, this is not always the case and, indeed, there are some suspicious cases of apparent direct interference in studio products from higher up the corporate food chain.