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The Art of Adaptation
Ritgerð til M.A.-prófs Bókmenntir, Menning og Miðlun The Art of Adaptation The move from page to stage/screen, as seen through three films Margrét Ann Thors 301287-3139 Leiðbeinandi: Guðrún Björk Guðsteinsdóttir Janúar 2020 2 Big TAKK to ÓBS, “Óskar Helps,” for being IMDB and the (very) best 3 Abstract This paper looks at the art of adaptation, specifically the move from page to screen/stage, through the lens of three films from the early aughts: Spike Jonze’s Adaptation, Alejandro González Iñárritu’s Birdman, or The Unexpected Virtue of Ignorance, and Joel and Ethan Coen’s O Brother, Where Art Thou? The analysis identifies three main adaptation-related themes woven throughout each of these films, namely, duality/the double, artistic madness/genius, and meta- commentary on the art of adaptation. Ultimately, the paper seeks to argue that contrary to common opinion, adaptations need not be viewed as derivatives of or secondary to their source text; rather, just as in nature species shift, change, and evolve over time to better suit their environment, so too do (and should) narratives change to suit new media, cultural mores, and modes of storytelling. The analysis begins with a theoretical framing that draws on T.S. Eliot’s, Linda Hutcheon’s, Kamilla Elliott’s, and Julie Sanders’s thoughts about the art of adaptation. The framing then extends to notions of duality/the double and artistic madness/genius, both of which feature prominently in the films discussed herein. Finally, the framing concludes with a discussion of postmodernism, and the basis on which these films can be situated within the postmodern artistic landscape. -
PRODUCTION NOTES for Additional Publicity Materials and Artwork, Please Visit
PRODUCTION NOTES For additional publicity materials and artwork, please visit: http://lionsgatepublicity.com/theatrical/draggedacrossconcrete/ Rating: Rated R for strong violence, grisly images, language, and some sexuality/nudity Run Time: 158 minutes U.S. Release Date: March 22, 2019 (In Theaters and On Demand) For more information, please contact: Liz Berger Lionsgate 2700 Colorado Avenue Santa Monica, CA 90404 P: 310-255-3092 E: [email protected] DRAGGED ACROSS CONCRETE SUMMIT ENTERTAINMENT Publicity Materials: http://lionsgatepublicity.com/theatrical/draggedacrossconcrete/ Hashtag: #DraggedAcrossConcrete Genre: Action Thriller Rating: Rated R for strong violence, grisly images, language, and some sexuality/nudity U.S. Release Date: March 22, 2019 (In Theaters and On Demand) Run Time: 158 minutes Cast: Mel Gibson, Vince Vaughn, Tory Kittles, Michael Jai White, Jennifer Carpenter, Laurie Holden, Fred Melamed, with Thomas Kretschmann, and Don Johnson Written and Directed by: S. Craig Zahler Produced by: Keith Kjarval, p.g.a., Dallas Sonnier, p.g.a., Jack Heller, Tyler Jackson, Sefton Fincham SYNOPSIS: DRAGGED ACROSS CONCRETE follows two police detectives who find themselves suspended when a video of their strong-arm tactics is leaked to the media. With little money and no options, the embittered policemen descend into the criminal underworld and find more than they wanted waiting in the shadows. Summit Entertainment presents, a Unified Pictures production, a Cinestate production, in association with Look to the Sky Films and The Fyzz Facility, in association with Realmbuilder Productions. Synopsis DRAGGED ACROSS CONCRETE follows two police detectives who find themselves suspended when a video of their strong-arm tactics is leaked to the media. -
Johnnie to Kei-Fung's
JOHNNIE TO KEI-FUNG’S PTU Michael Ingham Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Michael Ingham ISBN 978-962-209-919-7 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Ltd. in Hong Kong, China Contents Series Preface vii Acknowledgements xi 1 Introducing the Film; Introducing Johnnie — 1 ‘One of Our Own’ 2 ‘Into the Perilous Night’ — Police and Gangsters 35 in the Hong Kong Mean Streets 3 ‘Expect the Unexpected’ — PTU’s Narrative and Aesthetics 65 4 The Coda: What’s the Story? — Morning Glory! 107 Notes 127 Appendix 131 Credits 143 Bibliography 147 ●1 Introducing the Film; Introducing Johnnie — ‘One of Our Own’ ‘It is not enough to think about Hong Kong cinema simply in terms of a tight commercial space occasionally opened up by individual talent, on the model of auteurs in Hollywood. The situation is both more interesting and more complicated.’ — Ackbar Abbas, Hong Kong Culture and the Politics of Disappearance ‘Yet many of Hong Kong’s most accomplished fi lms were made in the years after the 1993 downturn. Directors had become more sophisticated, and perhaps fi nancial desperation freed them to experiment … The golden age is over; like most local cinemas, Hong Kong’s will probably consist of a small annual output and a handful of fi lms of artistic interest. -
Family in Films
Travail de maturité – ANGLAIS Sujet no 13 Family in Films “All happy families are all alike; every unhappy family is unhappy in its own way.” Anna Karenina, Leon Tolstoy. Whether dysfunctional, separated by exile, torn apart by history, laden with secrecy, crazy, loving, caring, smothering - and even perhaps happy, family is an endless source of investigation about human relations and social groups. In this research paper, you will be able to question Leon Tolstoy’s statement and explore how films envision new and older forms of families. Some examples of films relevant to this research paper: Festen (Thomas Vintenterberg, 1998) Parasite (Bong Joon-ho, 2019) L’Heure d’été (Olivier Assayas, 2008) Family Romance, LLC (Werner Herzog, 2019) Un conte de Noël (Arnaud Desplechin, Crooklyn (Spike Lee, 1994) 2008) Sorry, We Missed You (Ken Loach, 2019) La Fête de famille (Cédric Kahn, 2019) I, Daniel Blake ( Ken Loach, 2016) After the Storm (海よりもまだ深く, Umi yori Jungle Fever (Spike Lee, 1991) mo mada fukaku, Hirokazu Rodinný Film (Family Film, Olmo Omerzu, Kore-eda, 2016) 2015) Nobody Knows (誰も知らない, Dare mo So Long My Son (地久天长, Di jiu tian chang shiranai, Hirokazu Kore-eda, Wang Xiaoshuai, 2019) 2004) Still Life (三峡好人, Sānxiá hǎorén, Jia Like Father, Like Son (そして父になる, Zhangke, 2006) Soshite chichi ni naru, Hirokazu Amreeka (Cherien Dabis, 2009) Kore-eda, 2013) Tokyo Sonata (Kiyoshi Kurosawa, 2008) Our Little Sister (海街diary, Umimachi American Beauty (Sam Mendes, 1999) Diary, Hirokazu Kore-eda, 2015) The Royal Tenenbaums (Wes Anderson, Still Walking -
Feff Press Kit
PRESS RELEASES, FILM STILLS & FESTIVAL PICS AND VIDEOS TO DOWNLOAD FROM WWW.FAREASTFILM.COM PRESS AREA Press Office/Far East Film Festival 19 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39/0432/299545 - +39/347/0950890 [email protected] - [email protected] Video Press Office Matteo Buriani +39/345/1821517 – [email protected] 21/29 April 2017 – Udine – Teatro Nuovo and Visionario FAR EAST FILM FESTIVAL 19: THE POWER OF ASIA! The irresistible road movie Survival Family opens the #FEFF19 on Friday the 21 st of April: a packed programme which testifies to the incredible vitality (both productive and creative) of Asian cinema. 83 titles selected from almost a thousand seen, and 4 world premiers, including Herman Yau's high-octane thriller Shock Wave , which will close the nineteenth edition. Press release of the 13 th of April 2017 For immediate release UDINE - Who turned out the lights? Nobody did, and the fuses haven't blown. And no, it's not even a power cut. Electricity has just suddenly ceased to exist, so the Suzuki family must now very quickly learn the art of survival: and facing a global blackout is not exactly a walk in the park! It's with the world screeching to a halt of the irresistible Japanese road movie Survival Family that the highly anticipated Far East Film Festival 19 opens: not just because Yaguchi Shinobu' s wonderful comedy is the festival's starting pistol on Friday the 21 st of April, but also for a question of symmetry: just like the blackout in Survival Family , the FEFF is an interruption . -
The 21St Hamptons International Film Festival Announces Southampton
THE 21ST HAMPTONS INTERNATIONAL FILM FESTIVAL ANNOUNCES SOUTHAMPTON OPENING, SATURDAY’S CENTERPIECE FILM AUGUST: OSAGE COUNTY, SPOTLIGHT AND WORLD CINEMA FILMS INCLUDING LABOR DAY, HER, THE PAST AND MANDELA: LONG WALK TO FREEDOM WILL FORTE TO JOIN BRUCE DERN IN “A CONVERSATION WITH…” MODERATED BY NEW YORK FILM CRITICS CIRCLE CHAIRMAN JOSHUA ROTHKOPF Among those expected to attend the Festival are: Anna Paquin, Bruce Dern, Ralph Fiennes, Renee Zellweger, Dakota Fanning, David Duchovny, Helena Bonham Carter, Edgar Wright, Kevin Connolly, Will Forte, Timothy Hutton, Amy Ryan, Richard Curtis, Adepero Oduye, Brie Larson, Dane DeHaan, David Oyelowo, Jonathan Franzen, Paul Dano, Ralph Macchio, Richard Curtis, Scott Haze, Spike Jonze and Joe Wright. East Hampton, NY (September 24, 2013) -The Hamptons International Film Festival (HIFF) is thrilled to announce that Director Richard Curtis' ABOUT TIME will be the Southampton opener on Friday, October 11th and that Saturday's Centerpiece Film is AUGUST: OSAGE COUNTY directed by John Wells. As previously announced, KILL YOUR DARLINGS will open the Festival on October 10th; 12 YEARS A SLAVE will close the Festival; and NEBRASKA is the Sunday Centerpiece. The Spotlight films include: BREATHE IN, FREE RIDE, HER, LABOR DAY, LOUDER THAN WORDS, MANDELA: LONG WALK TO FREEDOM, THE PAST and CAPITAL.This year the festival will pay special tribute to Oscar Award winning director Costa-Gavras before the screening of his latest film CAPITAL. The Festival is proud to have the World Premiere of AMERICAN MASTERS – MARVIN HAMLISCH: WHAT HE DID FOR LOVE as well as the U.S Premiere of Oscar Winner Alex Gibney’s latest doc THE ARMSTRONG LIE about Lance Armstrong. -
The 2Nd International Film Festival & Awards • Macao Unveils Festival
The 2nd International Film Festival & Awards • Macao unveils festival programme, announces Laurent Cantet as head of jury Macao, 3 November, 2017 The 2nd International Film Festival & Awards • Macao (IFFAM) today announced its programme at a press conference in Macao. The Hong Kong/Macao premiere of Paul King’s Paddington 2 will open the IFFAM on Friday 8 December with the festival running until Thursday 14. The programme includes 10 competition films including the Asian premieres of Venice Film Festival prize winners Foxtrot by Samuel Maoz, and Custody, by Xavier Legrand, as well as Toronto Film Festival breakout Beast, by Michael Pearce and the London Film Festival hit Wrath of Silence, directed by Xin Yukun. For its second edition the IFFAM has exclusively dedicated the feature film competition to films by first and second time film makers with a $60,000 USD prize being awarded to the best feature. The prestigious competition jury comprises of: Laurent Cantet – Director (Jury President) Jessica Hausner - Director Lawrence Osborne - Novelist Joan Chen – Actress / Director Royston Tan – Director Representing the latest style of genre cinema to Asian audiences, highlights from the Flying Daggers strand features Cannes Film Festival smash A Prayer Before Dawn by Jean-Stéphane Sauvaire and Brian Taylor’s Toronto sensation Mom and Dad. The Asian premiere of Saul Dibb’s Journey’s End is screening as an Out-Of-Competition gala alongside Bong Joon-ho’s Okja, showing on the big screen for the first time in the region, and Pen-ek Ratanaruang’s latest movie Samui Song which will be screened with director and cast in attendance. -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
2010 16Th Annual SAG AWARDS
CATEGORIA CINEMA Melhor ator JEFF BRIDGES / Bad Blake - "CRAZY HEART" (Fox Searchlight Pictures) GEORGE CLOONEY / Ryan Bingham - "UP IN THE AIR" (Paramount Pictures) COLIN FIRTH / George Falconer - "A SINGLE MAN" (The Weinstein Company) MORGAN FREEMAN / Nelson Mandela - "INVICTUS" (Warner Bros. Pictures) JEREMY RENNER / Staff Sgt. William James - "THE HURT LOCKER" (Summit Entertainment) Melhor atriz SANDRA BULLOCK / Leigh Anne Tuohy - "THE BLIND SIDE" (Warner Bros. Pictures) HELEN MIRREN / Sofya - "THE LAST STATION" (Sony Pictures Classics) CAREY MULLIGAN / Jenny - "AN EDUCATION" (Sony Pictures Classics) GABOUREY SIDIBE / Precious - "PRECIOUS: BASED ON THE NOVEL ‘PUSH’ BY SAPPHIRE" (Lionsgate) MERYL STREEP / Julia Child - "JULIE & JULIA" (Columbia Pictures) Melhor ator coadjuvante MATT DAMON / Francois Pienaar - "INVICTUS" (Warner Bros. Pictures) WOODY HARRELSON / Captain Tony Stone - "THE MESSENGER" (Oscilloscope Laboratories) CHRISTOPHER PLUMMER / Tolstoy - "THE LAST STATION" (Sony Pictures Classics) STANLEY TUCCI / George Harvey – “UM OLHAR NO PARAÍSO” ("THE LOVELY BONES") (Paramount Pictures) CHRISTOPH WALTZ / Col. Hans Landa – “BASTARDOS INGLÓRIOS” ("INGLOURIOUS BASTERDS") (The Weinstein Company/Universal Pictures) Melhor atriz coadjuvante PENÉLOPE CRUZ / Carla - "NINE" (The Weinstein Company) VERA FARMIGA / Alex Goran - "UP IN THE AIR" (Paramount Pictures) ANNA KENDRICK / Natalie Keener - "UP IN THE AIR" (Paramount Pictures) DIANE KRUGER / Bridget Von Hammersmark – “BASTARDOS INGLÓRIOS” ("INGLOURIOUS BASTERDS") (The Weinstein Company/Universal Pictures) MO’NIQUE / Mary - "PRECIOUS: BASED ON THE NOVEL ‘PUSH’ BY SAPPHIRE" (Lionsgate) Melhor elenco AN EDUCATION (Sony Pictures Classics) DOMINIC COOPER / Danny ALFRED MOLINA / Jack CAREY MULLIGAN / Jenny ROSAMUND PIKE / Helen PETER SARSGAARD / David EMMA THOMPSON / Headmistress OLIVIA WILLIAMS / Miss Stubbs THE HURT LOCKER (Summit Entertainment) CHRISTIAN CAMARGO / Col. John Cambridge BRIAN GERAGHTY / Specialist Owen Eldridge EVANGELINE LILLY / Connie James ANTHONY MACKIE / Sgt. -
Bibliography
BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. -
7015 B Program P.Indd
From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences. -
Junk Food Subsidies Fuel Obesity
New Mexico Public Interest Research Group Citizen Update: A Report For Members Of NMPIRG Summer 2011 • Vol. 37, No. 2 Find links to resources and actions at www.nmpirg.org/newsletters Flickr User donbuciak Tax & Budget Policy Junk Food Subsidies Fuel Obesity Nearly one in three kids in New As a result, in the last 20 years, Mexico are overweight or obese, the price of soda has gone down and our taxpayer dollars are subsi- by more than 20 percent while the dizing unhealthy food—to the tune price of fresh fruits and vegetables of $245 billion over the last 15 years. has increased 40 percent. Of course, the epidemic of child- These subsidies overwhelmingly hood obesity is a complex problem benefit big agribusiness. More that won’t be solved by cutting than 60 percent of direct payments subsidies alone. But at the very in 2009 went to just 11 percent of YOUR TAX DOLLARS AT WORK—Taxpayer subsidies have driven down least, the government should not recipients. n the cost of unhealthy food over the last 15 years. be helping to saturate the market with cheap junk food. NMPIRG is calling for reform. Thanks to the tremendous influ- Public Health ence of the powerful agribusi- ness lobby, the U.S. Department of Agriculture spends billions of dollars directly subsidizing corn, soy, wheat and rice—key ingredi- USDA Mandates Safer ents in unhealthy food. It makes almost no direct subsidies to fruits and vegetables. School Lunches For years, New Mexico’s school- Some of the chicken schools have Member Resource We Are What We Grow children ate beef, chicken and other served was of such poor quality Over the next year, Congress will foods that would have been rejected that one University of Washington VISIT OUR WEBSITE decide whether and how to in- as substandard even by fast-food study found that it was four times where you can take vest in the food we grow and eat.