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|a 1249472289
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|a 10.1007/978-3-030-62934-2
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|a (OCoLC)1249014084
|z (OCoLC)1249472289
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|a 9783030629342
|b Springer Nature
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|a PN1995.9.R45
|b M66 2021
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|a HCDD
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|a Mooney, William H.,
|d 1948-
|e author.
|1 https://id.oclc.org/worldcat/entity/E39PCjthCyr6vYpb93wtcx4dHC
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|a Adaptation and the new art film :
|b remaking the classics in the twilight of cinema /
|c William H. Mooney.
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| 260 |
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|a Cham :
|b Palgrave Macmillan,
|c 2021.
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| 300 |
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|a 1 online resource
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| 336 |
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|a text
|b txt
|2 rdacontent
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|a still image
|b sti
|2 rdacontent
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
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|a Palgrave studies in adaptation and visual culture,
|x 2634-6303
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|a Includes bibliographical references and index.
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|a Introduction -- Part 1: Rainer Werner Fassbinder and Douglas Sirk -- Chapter 1: The Recreation of All that Heaven Allows as Angst Essen Seele Auf (Fear Eats the Soul, 1974) -- Part 2: Derivations and Procedural Challenges -- Chapter 2. The Palimpsestuous Ghost of Rome Open City (1945) in The Lives of Others (2006) -- Chapter 3. Clouds of Sils Maria and All about Eve: Adapting a Classic Paradigm -- Chapter 4. Leos Carax: Les Amants du Pont-Neuf and City Lights -- Part 3: Nostalgic Adventures and Aesthetic Complications -- Chapter 5. Chantal Akerman in the Labyrinth of Desire: La Captive, Marcel Proust, and Vertigo -- Chapter 6. The Coen Brothers Retrospective Foreboding -- Chapter 7. Baz Luhrmanns Outsized Ambition: The Great Gatsby and Citizen Kane -- Chapter 8. Conclusion.
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|a Since the 1990s, the expropriation of canonical works of cinema has been a fundamental dimension of art-film exploration. Rainer Werner Fassbinder provides an early model of open adaptation of film classics, followed ever more boldly by the Coen Brothers, Chantal Akerman, Alex Carax, Todd Haynes, Florian Henckel von Donnersmarck, Baz Luhrmann, and Olivier Assayas. This book devotes chapters to each of these directors to examine how their films redeploy landmark precursors such as City Lights (1931), Citizen Kane(1941), Rome Open City (1945), All About Eve (1950), and Vertigo (1958) in order to probe our psychological, philosophical, and historical situations in a postmodern societe du spectacle. In broadly diverse ways, each of these directors complicates received notions of the past and its representation, while probing the transformative media evolution and dislocation of the present, in film art and in society.
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|a Print version record.
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| 650 |
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|a Film remakes
|x History and criticism.
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|a Film adaptations
|x History and criticism.
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|a Motion picture industry
|x History.
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|a Film adaptations
|2 fast
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|a Film remakes
|2 fast
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|a Motion picture industry
|2 fast
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|a Criticism, interpretation, etc.
|2 fast
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| 655 |
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|a History
|2 fast
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|i has work:
|a Adaptation and the new art film (Text)
|1 https://id.oclc.org/worldcat/entity/E39PCGfdGPywtt3K6bxFPCKMHd
|4 https://id.oclc.org/worldcat/ontology/hasWork
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|i Print version :
|a Mooney, William H., 1948-
|t Adaptation and the new art film.
|d Cham, Switzerland : Palgrave Macmillan, an imprint of Springer Nature Switzerland AG, [2021]
|z 9783030629335
|w (OCoLC)1242737045
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| 776 |
0 |
8 |
|i Print version:
|z 3030629333
|z 9783030629335
|w (OCoLC)1198978101
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| 830 |
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|a Palgrave studies in adaptation and visual culture.
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| 856 |
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|u https://holycross.idm.oclc.org/login?auth=cas&url=https://link.springer.com/10.1007/978-3-030-62934-2
|y Click for online access
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|a SPRING-LIT2021
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|a 92
|b HCD
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