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INDEX 0–9 Accurately, 7, 19, 49, 61, 96, 116 9/11, 90, 95–97, 100–102, 105 Acquaroli, Francesco, 122 13, Rue Madeleine, 15 Acted, 177 24/7 job, 157 Acting, 116, 177 35mm flm, 56 Action, 13, 84, 94, 99, 103, 104, 166, 60 Minutes, 92 198 Action-adventure, 125 Action line, 119, 121, 123 A The Act of Killing, 126 Aaberg, Denny, 37–39 Actor(s), 36, 42, 52, 73, 82, 95, 154, Abbate, Lirio, 116, 117, 128, 131 192, 200 Abbottabad, Pakistan, 88 Actress, 74, 77, 82 ABC News, 95 Actual event, 55, 88–90, 92–93 A.C.A.B.—All Cops Are Bastards, 126 Adams, Ben, 97 Academic historians, 14, 60 Adapt, 23, 25, 58, 131, 197 Academic(s), 6, 7, 61, 73, 181 Adaptation, 3, 4, 11, 12, 34, 36, 45, Academic writing, 5 48, 51, 58, 69, 89, 111, 116, Academie des Beaux-Arts, 77 118, 119, 165, 167, 181, 190 Academy Award for Best Direction, Adaptation studies, 3, 4, 13, 17, 48, 105 62 Academy Award-winning director, 98 Adaptation Studies at a Crossroad, 62 Account, 43, 48, 57, 112, 114, 173, Adapting Cinema to History, 26 174, 177 Adaptive continuum, 54 Accountability, 10, 57, 104 Adaptive procedures, 48 Accuracy, 49, 132 Adaptive process, 48, 49, 54, 62 © The Editor(s) (if applicable) and The Author(s) 2018 207 D. Thornley (ed.), True Event Adaptation, Palgrave Studies in Adaptation and Visual Culture, https://doi.org/10.1007/978-3-319-97322-7 208 INDEX Adaptive strategies, 177 Anthropologist, 192 Adaptors, 58 Anthropology, 58 Administration, 115, 118, 121, 123 Antihero, 124, 131 Aesthetic, 34, 44, 51, 53, 197, 201 Antiphrasis, 197 Aesthetic choices, 68, 98 Anti-representation, 197 Aesthetic theory, 4, 188 Apocalypse Now, 5, 33, 44, 98 Affect, 55, 173, 177, 181, 194 Appraisal, 114 Africa, 116 Appropriate, 6, 17, 175 Aftermath, 95, 100, 165, 174, 180 Arab, 74, 84 Age, 56, 74, 119 Arabic poetry, 75 Agency, 17, 25, 54, 58, 133, 177 Arab literature, 76 Agent, 13, 15, 103, 129, 171, 172 Arab society, 68 Agent provocateur, 172 Arab world, 70, 80 Agger, Gunhild, 17 Aramoana, 9, 47, 51, 55 Alavi, Bettina, 14 Aramoana massacre, 6, 60 Alemanno, Gianni, 115 Aramoana: Twenty-Two Hours of Alhaique, Michele, 126 Terror, 47 Allegories, 200 Arc, 124 All the President’s Men, 13 Archaeology, 178 Al Qaeda, 87, 100 Archetypal characters, 169 Altenberg, Tilmann, 131 Archetypal construction, 123 Altered context, 58 Archetype, 7, 153, 181, 196 Alter ego, 126 Archival documents, 188 America, 101–102 Archival material, 9 American, 69, 74, 88, 95, 100, 111, 113 Archival research, 4, 187, 190, 197, 203 American Animals, 126 Archival work, 145 American cinema, 33 Argument, 19, 45, 58, 98, 195 American exceptionalism, 7, 88, 101, Ariete, Valentina, 129 105 Aristotle, 68 American Graffti, 35 Arranged marriage, 124 American Historical Review, 188 Art, 25, 50, 70, 170 American imperialism, 106 Artefact, 130, 171 American New Wave, 34 Arthurian saga, 41 America on Film, 16 Artist, 71, 174 Amnesia, 101, 166, 171, 174 The Art of Adaptation: Turning Fact Amnesty International, 81 and Fiction into Film, 69 Analysis, 21, 68, 114, 129, 181 Artwork history, 4, 9, 188, 195 Ancient Rome, 122 Aryan, 41 Andem, Julie (series creator), 144, 149 Asheim, Lester E., 28 Andrew, Dudley, 12 Assemblage, 167, 182 Anglo-Saxon, 174 Assertibility, 128 Animal Kingdom, 113, 126 Atonement, 124 Antecedent, 131 Atrocities, 68 INDEX 209 Audience feedback, 156 Banned, 55 Audience identifcation, 48 Banning, 55 Audience research, 149, 152 Barbed Wire and Mirrors, 62 Audience(s), 4, 7, 14–16, 36, 50, Barthes, Roland, 35 56–58, 61, 70, 82, 87, 112, 113, “Based on a true story”, 14, 15, 16, 143, 152, 192, 196 18, 27, 48, 60, 62 Audience share, 113 Based on real events, 39, 53 Audio, 90 Based on the book, 53, 62 Audio commentary, 43, 48 Basinger, Jeanine, 94, 102 Audio-visual, 149 Bason, Christian, 148 Audition outtakes, 48 Bataclan, 166, 169 Aune, Oddvin, 157 Baudrillard, Jean, 114, 128 Australia, 51 BBC, 147 Australian Goldfelds Water Pipeline Beirut, 70–73 Scheme, 9 Bell, Daniel, 101 Auteur, 4, 6, 34 Benedict XVI, 119 Auteur as brand, 44 Bergløv, Emil, 150 Auteurism, 35, 43 Berlin, Marina, 113, 116 Authentication, 89 Berlusconi, Silvio, 115, 117, 119, 121 Authenticity, 35, 39, 89, 127, 171, 172 Best director, 105 Authentic portrayal, 35, 40 Best picture, 105 Author, 3, 82, 172 Between the Lines, 44 Authored history, 197 Bias, 23, 173 Authorize, 59, 181 Bigelow, Kathryn, 6–7, 87–101, Authorship, 5, 34 103–105 Autobiographical accounts, 165 Big Other, 173 Autobiographical acts, 168, 172, 180 Big Wednesday, 5, 33–45 Autobiographical knowledge, 171 Binge-viewed, 113 Autobiographical self, 5, 36 bin Laden, Osama, 7, 87–88, 92, 106 Autobiography, 16, 33, 34, 43 Binski, Paul, 177 Biographical memory, 174 Biography, 176, 177 B Biopic(s), 126, 145 Backstage, 168, 176, 179, 180 Birk, Trine, 150 Backstory, 103, 118 Black and White, 74 Bad Blood, 49 Black box, 177 BAFTA, 105 Blackburn, Simon, 19, 133 Baillie, Russell, 54 Blackmail, 121, 123 Bakhtin, Mikhail Mikhailovich, 166, Black site, 90 167, 169–171 Blackton, J. 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  • TITOLO Addio Al Re (Farewell to the King) REGIA John Milius

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    TITOLO Addio al re (Farewell to the King) REGIA John Milius INTERPRETI Nick Nolte, Nigel Havers, Frank McRae, James Fox, Marilyn Tokuda, Marius Weyers, Choy Chang Wing, Aki Aleong GENERE Guerra DURATA 117 min. - Colore PRODUZIONE USA – 1988 Durante la seconda guerra mondiale, il capitano Fairbourne ed il sergente Tenga, due militari inglesi paracadutati nel Borneo per convincere le tribù indigene a combattere contro i giapponesi invasori, vengono catturati dai Dayak, una tribù di cacciatori di teste, e condotti al cospetto del loro re bianco: questi è il sergente Learoyd, un disertore dell'esercito americano. A seguito delle insistenze del capitano Fairbourne e del successivo bombardamento del villaggio ad opera dei giapponesi, Learoyd aderisce alla proposta di combattere gli invasori in cambio di un trattato del generale Mac Arthur che prevede la libertà per lui e la sua gente. Dopo aver salvato il capitano Fairbourne durante un agguato, Learoyd nei successivi scontri con i giapponesi perde l'amata moglie e molti dei suoi fedeli compagni. Al termine del conflitto mondiale, Learoyd, fatto prigioniero dagli inglesi che non intendono rispettare il trattato e trasferito su di una nave sulla quale si trova Fairbourne, promosso maggiore, viene da questi liberato Critica: Non mancano certo le belle immagini in Addio al re di John Miius: girato nella foresta di Sarawak, nella parte malese del Borneo, il film si avvale di paesaggi naturali di incontaminata bellezza. E lì, lontanissimo dalla civiltà bianca, che un disertore dell’esercito americano, tale Learoyd (Nick Nolte), vive la sua straordinaria avventura: diventare re. Catturato dagli indigeni subito dopo aver fatto naufragio (una delle scene più spettacolari, con onde gigantesche che richiamano un precedente lavoro di Milius, il bellissimo Un mercoledì da leoni), l’uomo non ha la testa mozzata solo perché le donne della tribù intercedono per lui, affascinate dai suoi occhi azzurri.
  • Crisis of Infinite Intertexts! Continuity As Adaptation in the Superman Multimedia Franchise

    Crisis of Infinite Intertexts! Continuity As Adaptation in the Superman Multimedia Franchise

    Crisis of Infinite Intertexts! Continuity as Adaptation in the Superman Multimedia Franchise Jack Peterson Teiwes ORCID identifier 0000-0001-8956-1602 Doctor of Philosophy November 2015 School of Culture and Communication The University of Melbourne Submitted in total fulfillment of the requirements of the PhD degree Produced on archival quality paper Abstract Since first appearing as a comic book character over three quarters of a century ago, Superman was not only the first superhero, spawning an entire genre of imitators, but also quickly became one of the most widely disseminated multi-media entertainment franchises. This achieved a degree of intergenerational cultural dissemination that far surpasses his comic book fandom. Yet despite an unprecedented degree of adaptation into other media from radio, newspaper strips, film serials, animation, feature films, video games and television, Superman’s ongoing comic books have remained in unbroken publication, developing a long and complex history of narrative renewal and reinvention. This thesis investigates the multifaceted intertextuality between the comic book portrayals of Superman and its many adaptations over the years, including how such retellings in other media have a generally stronger cultural impact, which exerts in turn an adaptive influence upon these continuing comics’ internalised narrative continuity. I shall argue that Superman comics, as a case study for the wider phenomenon in the superhero genre, demonstrate via their frequent revisions and relaunches of continuity, a process of deeply palimpsestuous self-adaptation. The Introduction positions my research methodology in relation to intertextual theory, with an emphasis on providing terminological clarity, while Chapter 1 expands into a literature review on pertinent key scholarship on adaptation studies and the comics studies field specifically.
  • Oscars and America 2014

    Oscars and America 2014

    AMERICA AND THE MOVIES WHAT THE ACADEMY AWARD NOMINEES FOR BEST PICTURE TELL US ABOUT OURSELVES In his Golden Globe acceptance speech for Best Actor in a comedy this year, Leonardo DiCaprio said of Martin Scorsese, his long-time collaborator and director of this year’s Best Picture nominee The Wolf of Wall Street, “You’re not only an incredible visionary, but you put the very fabric of our culture up on screen.” We may hope that DiCaprio is not actually correct. I, at least, dream our culture’s “very fabric” is not a tapestry woven together by the violent, drug-infested, sexually obsessed, foul-mouthed people that inhabit Scorsese’s movies (particularly The Wolf of Wall Street). It is nevertheless true, though, that Scorsese puts up on screen characters and stories that inhabit some of our people’s dreams… and some of their nightmares. And, if Scorsese and DiCaprio are to be believed, the vision of life they put on screen in The Wolf of Wall Street is not one they would like to see others follow, either... but more about that presently. I believe most successful movie-makers do put at least some part of our culture’s “fabric” on screen, and that is why it is so important to listen to them. Without doubt most Hollywood directors, writers, producers and actors have visions of the world that they intend as the basis for their best work, whether the public approves of that vision or not. And that vision is intended to be heard, and in some form appropriated by the viewer.