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 , 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 , 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. Stuart, 99 Bal, Mieke, 61 Blockbuster, 56, 87, 89, 98, 106 Balzac, Honore, 174 Blondell, Joan, 102 Banda della Magliana, 116 Bloody Sunday, 170, 174 210 Index

Bloomfeld, Paul, 133 Burke, Peter, 189, 204 Bloom, Leopold, 174 Busey, Gary, 34 Boal, Mark (journalist), 7, 88, 93–95, Bush, George W., 95, 102 103–105 Bushnell, William S., 15 Boardwalk Empire, 113 But Enough About Me, 167 Bocca, Riccardo, 113 Butler, Judith, 171 Bodies That Matter, 171 Body, 77–80, 98, 101, 119, 171, 176–179 C Bonini, Carlo, 7, 111, 115, 122 Cahiers du Cinema, 132 Bonzon, Roman, 133 Cairns, Ian, 36 Book, 47, 118, 145, 200 Cairo, 74–75, 77 Book of Exeter, 174 Calabria, 117 Boomerang, 15 Calhoun, Claudia, 28 Borgen, 146, 150 California, 34, 37, 39, 156 Box offce, 34, 105 Caligari, Claudio, 129 Box Offce Mojo, 98, 105 Call Northside 777, 15 Bradshaw, Peter, 125 Cambodian killing felds, 170 Brady, Leonard (journalist), 37 Camera, 40, 43, 74, 89, 100–101 Brand, 4, 5, 34, 44, 111 Cameron, Allan, 53 Branded franchises, 111 Cameron, Kenneth M., 16, 17 Brandom, Robert, 128 Campbell, Joseph, 124, 181 Bricolage, 167, 175, 182 Camp Chapman, 100, 103 Bricolaged identities, 180 Cardinal Paul Marcinkus, 132 Brief, 112, 150, 156 Carey, Peter, 51, 53 Britain’s ‘kitchen sink’ dramas, 62 Carlson, Curtis R., 148 British, 13, 21, 72 Carminati, Massimo, 116, 118, 132 Britton, Gregory, 102 Carnap, 128 Broadcast, 52, 56, 83, 106 Carr, E.H., 188, 193, 200, 202, 203 Broadcaster, 143–144, 146–147 Carroll, Christopher, 112, 113, 124, Broadcasting, 145, 147, 150, 157 129 Broadcast television, 155 Carson, Lance, 38, 39, 44 Brody, Richard, 105 Caruth, Cathy, 96 Broich, Ulrich, 14 Casamonica, 117, 118 Bronfen, Elisabeth, 179, 180 Case study, 5, 8, 20, 62, 112, 157, Browne, Bud, 36 187, 190, 193, 197, 203 Bruni, Frank, 92 Cast and crew interviews, 48 Bruschi, Chiara, 129 Casting, 154 Bruss, Elizabeth, 43 Catastrophe, 176, 180 Bruzzi, Stella, 68 Catholic organizations, 115, 132 Bryson, Julie-Ann, 52 Cattleya, 122 Budowski, Jade, 112, 125 Cattrysse, Patrick, 12, 14, 20, 25 Burgoyne, Robert, 99–101 Cause-effect, 60, 175 Index 211

Celebration, 41–42, 57, 99, 152, Cinematic process, 56 178–179 Cinematic storytelling, 68 Celebrities, 174 Cinematic therapy, 54 Censor, 48 Cinematic work, 68 Censorship, 48, 51 Cinematographers, 36 Cerno, Tommaso, 117 Cinematography, 51, 56, 68 Certifed Copy, 126 Circumcision, 78, 80, 82 Cesarano, Daniele, 116, 122 Circumstance, 92, 147, 176 Chandler, Kyle, 103 Civilization, 42, 122 Change Mummifed, 130 Civil War, 70, 99 Chaplin, Charles, 181 Clarke, Jason, 90 Chapman, Adam, 14, 16, 22 Classifcation, 55, 56, 62 Chappell, Timothy, 133 Cliché, 8, 80, 145, 157 Character arcs and actions, 154 Cline, Brendan, 133 Character construction, 113 Clip, 72, 149, 157 Character-creating, 157 Cloaca Maxima, 122 Character design, 154 Close Encounters of the Third Kind, 42 Character development, 154 Close-up shot, 121 Characteristics, 3, 24, 98–99, 102, 127 CNN, 37 Characterization, 44, 132, 200 CNN Library, 94 Character(s), 48, 73, 82, 88, 102, Co-creation, 182 117, 119, 123, 144, 146, 152, Co-creative occupation, 53–55 157, 153, 166, 176, 189 Cognitive, 18, 23, 181 Chastain, Jessica, 88 Colbert, Claudette, 102 Cheney, Dick, 92 Cole, Andra L., 169 Chesnaux, Jean, 12 Collaboration, 8, 53, 54, 149, 173 Choreographed, 57, 99 Collage, 72, 170 Christensen, Katrine Bouschinger, 159 Colonial experience, 58 Christianity, 177 Colonial stereotypes, 61 Chronology, 5, 9, 115, 167 Colonized, 58 Chronotope, 169 Columbia, 98 CIA, 5, 13, 15, 88, 90, 92, 93, 99, Comedy, 106, 196 101, 103 Comical, 156 Cinema, 7, 10, 17, 33, 49, 57, 85, 87, Comics, 8 136, 172 Coming of age, genre, 41, 74 Cinema audiences, 57 Commentary, 43, 48, 72, 198 Cinema, Cross-Cultural Collaboration, Commercial relevance, 112 and Criticism, 10 Community, 6, 10, 48, 50–58, 61–63, Cinema di impegno civile, 115 96–97, 124, 131, 167, 175, Cinematic culture, 60 178–180 Cinematic fction, 126 Complex TV, 156 Cinematic narrative, 70 Composite, 104, 166–170, 181 212 Index

Composite character, 166–167 Coolgardie, 192, 199 Compression, 119 Copenhagen, 144 Conan the Barbarian, 5, 33, 37, 45 Coproduction, 71 Concept, 8, 14, 18, 25, 34, 99, 128, Corradori, Niccolò, 113 158, 165, 170 Correspondence, 97, 112, 114, 127, Concepts in Film Theory, 26 128, 131 Conceptual underpinning, 70 Corriere della Sera, 113 Conclusions, 15, 181, 195 Corrigan, Timothy, 35 Concrete, 84, 100 Corruption, 4, 114, 116, 119, 132 Confessions of a Postmodern(?) Cosa Nostra, 123 Historian, 198 Cosplaying, 171, 176 Confation, 113, 119, 132 Court reports, 4 Confict, 68, 102, 124, 146 Couser, Thomas, 174 Conformity, 127, 129 Couston, James, 201 Confronting truth, 81 Covering, 72 Consciousness, 71, 176 Co-writer(s), 7, 37, 48, 63 Constructed, 52, 78, 127, 149, 178, Creating a reality, 157 180, 189, 192, 196, 203 Creative research, 203 Constructed audience, the, 149 Creatives, 6 Constructedness, 127 Creative team, 152, 155 Constructed versions of reality, 127 Creative treatment of reality, 68 Construction, 21, 78, 93, 113, 123, Creative writing, 187–188, 190, 201 168, 188, 197, 201 Creator(s), 7, 51, 123, 130, 148, 151, Constructivist, 18 155 Consultations, 55 Credibility, 131, 175 Consumerism, 114 Credits, 14, 19, 24, 37, 62 Consumption, 112, 179 Crime, 6, 15, 56, 58, 60, 63, Contemporary, 35, 42, 59, 77, 96, 100, 112–115, 117, 118, 121, 132 105, 115, 124, 127, 192, 200 Crime drama, 112, 121 Contemporary viewers, 59 Crime franchises, 63 The Content of the Form, 196 Crime sagas, 112 Context, 8, 12, 24, 35, 44, 58, Criminal, 57, 115–119, 123, 132 92, 114, 133, 145, 154, 158, Criminal activities, 115, 118 167–171 Criminal behaviour, 57 Contextualization, 112, 170 Criminal gang, 116 Contributors, 4, 9, 182 Criminal organizations, 117, 119, 123 Controversy, 6, 7, 9, 83, 105 Crisis, 6, 118, 177 Convention, 41, 58, 60, 102, 104, Critic, 14, 18, 25, 34, 88, 92, 97, 121, 125, 128 103, 113, 125 Conventional realist, 9, 188 Critical, 5, 14, 15, 12, 18, 27, 35, 41, Conversation, 6, 52, 80, 93, 165, 75, 92, 114, 121, 126, 130, 167, 168, 170, 172, 173, 175, 179, 182, 188 191–193 Critical perspectives, 7 Index 213

Critical realist, 18 Danish politics, 150 Critical reception, 112, 113 Darkest Hour, 126 Criticism, 10, 15, 20, 35, 113, 127, Darwinian, 198 129, 173 DAS, 14, 16, 20, 24 Critique, 42, 114, 131, 181 Data, 19, 99, 113, 151, 181, 182, Cross-reference, 59 189, 198 Cry ‘Havoc’, 102 Data-mining, 112 Cult flm, 5, 33, 34, 36, 145 Data representation, 181 Cultural borders, 48 Date stamp, 123 Cultural context, 5, 8 Davis, David, 22 Cultural discourse, 19, 203, 171 Davis, Natalie Zemon, 12 Culturally aestheticized, 175 Deadly Code (Educazione Siberiana), Cultural memory, 3–5, 45, 61, 87, 96, 126 167 De Angelis, Edoardo, 126 Cultural norm, 171 Death, 9, 38, 82, 84, 87, 91, 95, 104, Cultural preference, 148 120, 124, 132, 169, 177–180 Cultural product, 8, 36, 174 Death of Arthur, 38 Cultural relevance, 112 De Cataldo, Giancarlo, 7, 111, Cultural specifcity, 7, 129 115–117, 122, 128, 132 Cultural strategy, 180 Deconstruct, 61 Culture, 10, 35–38, 40, 42, 60, 75, De Cosson, Alex, 169 96–98, 114, 127, 155, 173, 193 Dedalus, Stephen, 174 Curate, 168, 173 De facto, 58, 118 Curated expression, 180 Deleuze, Gilles, 167 Custom, 167 Delingpole, James, 112 Cyber-shrines, 178 De Maistre, Xavier, 174 Cyberspace, 178 De Man, Paul, 166 C.Y. O’Connor, His Legacy and Life, Demographics, 151 201–203 Denby, David, 88, 95 Denzin, Norman K., 169 Depicting, 55, 57, 61, 94 D Depictions, 57, 99, 152 Dagmar, Brunow, 14 Depression, 145, 174, 200 D’Agnolo Vallan, Giulia, 35, 37 Der Derian, James, 106 Dahl, Ingvill Dybfest, 151, 152, 154 Derivate, 165 Daily life, 149 Derloshon, Jerry, 35 Dance, 74, 77–79 De Rochemont, Louis, 15 Dancy, Jonathan, 133 Describe, 12, 35, 38, 87, 94, 96–98, Danes, Claire, 106 124, 127, 143–145, 151, 173, Danger, 61, 72, 95, 99, 101 176, 188 Danish, 144, 146, 150 Description, 38, 129, 152, 158, 173, Danish Broadcasting Corporation, 190, 195 147, 150 Descriptive Adaptation Studies (DAS), 12 214 Index

Desensitization, 56 Disaster, 72, 96, 180 Deshpande, Anirudh, 27 Discourse, 9, 19, 21, 23, 24, 36, 50, Desk research, 145–147 58, 92, 97, 129, 148, 171, 188, Detail, 39, 47, 53, 59, 71, 78, 95, 195, 203 122, 129, 145, 151, 177 Diseventalization, 172 Detroit, 105 Disfguration, 166 Development, 8, 12, 45, 81, 119, Display, 20, 74, 95, 101, 104, 132, 122, 123, 144–147, 149, 151, 173, 177, 178 154, 157–159 Distribution, 112, 148 Device, 71, 123, 130, 167–169, 173, Docufction, 133 177, 190, 195, 203 Docufctions: Essays on the Intersection Dewey, John, 128, 131 of Documentary and Fictional DGA, 105 Filmmaking, 68 Dialectic, 131 Document, 44, 59, 69, 73, 89, 127 Dialogically constructed, 180 Documentaries, 51, 67, 69, 70, 75, Dialogical scenario, 179 84, 175, 191 The Dialogic Imagination, 169 Documentary flm, 68, 81 Dialogism, 170 Documentary flmmaker, 67 Dialogue, 50, 170, 173, 191, 193– Documentary-maker, 6, 36, 67 195, 197 Documentary reality, 84 Diana of Wales, 178 Documentary source, 59 Diary, 34 Documentary style, 73 Dichotomy, 69 Documentation, 131 Dickson, Helen[Lois Lawn], 48 Doherty, Willie, 170, 174, 175 Diegesis, 123 Doing history, 189, 197, 203 Diegetic time, 119 Dominant discourse, 58 Digital and networked media, 143 Don’t Be Bad (Non esssere cattivo), 129 Digital frst, 149 Dostoyevsky, Fyodor, 171, 174 Digital Games as History, 16 DR, 147 Digital natives, 143, 155 Draft, 39, 52, 88 Digital technology, 178 Drama, 7, 49, 61, 73, 84, 122, 131, DiGrande, Laura, 97, 109 146, 149, 177, 190, 200 Di Leo, Fernando, 113, 133 Drama paradigms, 68 Dillinger, 33, 38 Drama point, 81 Dionisi, Adamo, 120 Drama serial, 7, 112, 116 Directed, 5, 36, 44, 46, 70, 88, 95, Drama series, 112, 126, 146 106, 113, 127, 130 Dramatic performance, 192 Direction, 70, 103, 105 Dramatic scenario, 73 Director, 5, 33–37, 40, 43, 48, 74, Dramatization, 132, 169, 173 76, 88, 93, 98, 104 Drug traffcking, 115 Direct quotes, 168 Dunedin, 47, 57 Dirty Harry, 5, 33 Dunia, 67, 71, 74–85 Index 215

Duong Duinh Hoa, 81 Emplotment, 9, 98, 101, 106, 188, DVD, 48, 62, 91 195, 196, 203 Engle, John, 41 English, 75, 76, 111, 118 E English/literary studies, 5 Eastern, 118, 179 Englund, Robert, 40 Easy Riders, Raging Bulls, 42 Enhanced interrogation, 88, 90, 93 Echo, 127 Epics, 170, 196 Eco, Umberto, 114 Episode, 111, 123, 146, 150, 156 Edelstein, David, 92 Epistemic scepticism, 197 Eder, Jens, 26 Epistemological, 4, 6, 9 Editing, 68, 90, 98, 105 Epistemology, 128, 189 Editor, 4, 9, 35, 188, 190 Epistolary narrative, 71 Effgy, 178 Erikson, Kai T., 96 Egan, Susanna, 43 Escapism, 114, 131 Egyptian, 6, 72, 74, 82, 84 Essay, 5–7, 34, 43, 50, 70, 170 Ehle, Jennifer, 88 Essentialism, 6, 61 Elections, 115 Ethical and metaphysical, 173 Ellingsen, Lajla, 152, 157 Ethical claims, 133 Elliott, Andrew B., 20 Ethical concepts, 112 Elliott, Kamila, 6, 59 Ethical grounds, 169 Elliptical narrative, 76 Ethical judgements, 188 Ellison, Nicole, 178 Ethical murkiness, 54 Elsaesser, Thomas, 97 Ethics, 88, 92, 201–203 El Salvador, 45 Ethnographic, 8, 166, 167, 181 Elshtain, Jean Bethke, 102 Ethnographical methods, 173 Embodied experience, 171, 174 Euphemism, 197 Embodiment, 99, 166 European, 34, 78 Embody, 41–42, 122, 169 Eurovision Song Contest Finale, 151 Emerson, Caryl, 169 Evans, A.G., 189, 201 Emotion, 56, 57, 60, 68, 90, 100, Event based truth, 60 113, 167, 170, 190, 198, 200 Event(s), 3–10, 21, 23, 36, 39–40, 47, Emotional Communities in the Early 49–56, 60, 69–71, 88, 90, 93, Middle Ages, 190 95, 98, 112, 128, 131, 145, 151, Emotional-psychological approach, 189 154, 166, 181, 196, 200, 203 Emotional-psychological historical Even-Zohar, Itamar, 24 perspective, 200 Everyday, 8, 144, 166, 173, 175, 178 The Emotional Toolbox, 153 Everything in its Path: Destruction of Emotional truth, 60, 188, 192, 197, Community in the Buffalo Creek 203 Flood, 96 Emotional underpinning, 70 Evidence, 5, 13, 82, 91, 100, 188, Empirical scepticism, 196 190, 193, 199, 201 216 Index

Exhibition, 179 115, 119, 121, 123, 125–131, Existence, 38, 114, 168, 176 150, 156, 157, 172, 176, 180, Experience, 6, 9, 36, 51, 54, 58, 61, 181, 188–193, 195, 196, 198, 70, 72, 95, 123, 146, 158, 168, 199, 201, 203 174, 177, 181, 193 Factual, 7, 14, 19, 21, 23–25, 70, 71, Experienced life, 165–167, 181 73, 97, 121, 129, 146, 181, 187, Experiential truth, 60 195 Experiment, 71 Factual event, 121 Experimental documentary, 75, 98 Factual inaccuracies, 187 Experimental flm, 68 Factual reality, 7, 129 Expert, 145, 165–167, 180, 192 Factual representation, 14, 181 Explain, 12, 52, 77, 166, 195, 200 Fairy tale, 181 Explanation, 42, 52, 97, 175, 190, Faith, 70, 97 195, 197 Falbe-Hansen, Rasmus, 26, 27 Exploitation, 169 Faldalen, Jon Inge, 151, 154–156 Exploitative, 53–54 Falsehood, 127 Exploration, 68, 74, 145 Falsely, 61 Export, 17, 112 False memory, 174 Exportable, 145 Fan, 112, 144, 155–157 Exposition, 170, 179 Fan art, 156 Exposure, 96, 117, 174, 179 Fan base, 156 Expression, 170, 180, 189, 192, 198, Fan fora, 112 200 Fan group, 150, 156 Expressionist, 9, 168, 188, 190, 194, 198 Fan site, 156 Expressionist history, 188–190, Farce, 196 203–204 Farewell to the King, 37 Extraordinary event, 175–176, 181 Fasciani, 116–118 Extreme realism, 127 Fascist, 121 Fascist militia, 117 Father fgures, 124 F Feature, 5, 12, 15, 17, 18, 21, 22, Fabrication, 114, 181, 188, 192 25, 42, 44, 57, 67, 68, 73, 74, Fabula, 22, 126 78–80, 94, 99–102, 113, 126, Facebook, 144, 150, 156, 166, 168, 128, 130, 144, 151 170, 172, 175, 177 Feature flm, 7, 12, 14, 21, 24, 56, Face-to-face, 148, 152, 166 68–70, 73, 74, 111–113, 116, Fact-fction divide, 21 118, 119, 121–123, 125–127, Fact-inspired storylines, 122 132, 146 Fact(s), 4–7, 13–15, 17–23, 25–27, Feature-flm format, 56 36, 41, 42, 49, 53, 58, 59, Feature-length, 49, 67, 187 68–71, 78, 81, 82, 84, 88, 89, Feelings, 54, 71, 72, 77, 97, 100, 114, 92, 93, 97, 98, 105, 112, 114, 127, 166, 171, 173, 194, 195, 200 Index 217

Feinstein, Dianne, 92, 93 Film Adaptation and Its Discontents, 3 Female, 7, 74, 75, 77, 79, 80, 82, 84, Film and television industry, 144 91, 99, 101–106 Film & History, 12 Female genital mutilation, 75, 82, 84 Film & media studies, 4 Ferrara, Giacomo, 119 Film criticism, 113, 114 Ferrara, Giuseppe, 115 Film festival, 55, 74, 85, 111, 126 Ferro, Marc, 12 Film-goers, 34 Festival, 55, 85, 111, 126 Film history, 132 Fict, 19, 22, 23 Film industry, 35, 44 Fiction, 5–8, 13–15, 21–23, 67–69, Filming, 73, 81, 95 71–74, 78, 84, 85, 88, 112, 115, Film-maker, 33–36, 39, 40, 43–45, 123, 126, 128–131, 143, 149, 52, 59, 70, 71, 73, 74, 78, 80, 150, 153, 165, 166, 168, 173, 85, 89, 92, 105, 115 175, 180–182, 187, 188 Film-making, 34, 35, 44, 45, 48 Fictional, 14, 15, 19, 21–25, 36, 40, Film noir, 15, 17, 19, 24, 26 44, 49, 69, 73, 81, 121, 123, The flm Out of the Blue, 9, 47, 48, 50, 126, 129, 132, 144–146, 150, 53–56 153, 181, 182, 189 Film theory, 26, 68, 69 Fictional adaptation, 182 Filtering, 154, 158 Fictional content, 144, 150, 153 Final frame, 8 Fictional discourse, 21, 23, 24, 129 ‘fnal’ text, 182 Fictional elements, 181 Financing, 147 Fictional flmmaking, 79 Findings, 5, 19, 23, 25, 181, 192, Fictionalization, 24, 26, 166 194, 197 Fictionalized, 18, 49, 54, 179, 181 Finlay, Stephen, 129, 133 Fictionalized drama, 49 First-person, 34, 40, 52, 96, 192 Fictionalized flms, 54 First World War, 99 Fictional realist, 21 Flashbacks, 167 Fictional stories, 145 Fludernik, Monica, 172 Fictional work, 189 Fof, Goffredo, 113, 126 Fiction flm, 16, 67, 68, 71, 73, 78, 84 Forbrydelsen/The Killing, 146 Fictions of memory, 168 Ford, John, 42 Fictitious character, 117, 118 Foreground, 51, 58 Fidelity, 20, 25, 36, 89, 202 Foreign audience, 144, 149 Figuration, 130, 165 Foreigner, 72 Figures of speech, 197 Foreshadow, 132 Filkins, Dexter, 89 Format, 56, 61, 113, 122, 127, 128, Film, 4–7, 9–28, 33–45, 47–63, 149, 169 67–85, 87–106, 111–116, 118, Forward Operating Base, 100 119, 121–123, 125–127, 129, Foucault, Michel, 35 130, 132, 133, 144–147, 149, Four kings of Rome, 116, 117 158, 165, 170, 175, 187, 189, Fox, Jennifer, 126 196, 200, 203 Frame, 53, 77, 121, 126, 147 218 Index

Framework, 97, 101, 105, 112, 147, Germano, Elio, 119 154–156, 158, 166 Germany, 144 Framing, 58, 124 Ghost writing, 169 Framing device, 124 G.I. Jane, 106 France, 24, 74, 144 Gillespie, Craig, 126, 137 Franchise, 63, 111, 116 Girl power, 105 François de la Brethèque Girls, 38, 72, 77, 81, 102, 144, (CinémaAction), 12 150–153, 158 Frank, Katherine, 181 Giulia Elettra Gorietti, 119 Frege, 128 Giusti, Marco, 113, 126 Fremantle, 191, 192, 199 Goddard, Paulette, 102 French, 13, 72, 81 Goffman, Erving, 166, 168, 171, 172 Freud for Historians, 200 Goldfelds Water Pipeline Scheme, 9, Friedlander, Saul, 97, 98 187, 189 Front-stage, 179, 180 Gomorrah, 111, 126 Fundamentalism, 82, 83 Good content, 155 Furevold, Marianne, 155, 156 Good story, 20, 176 Future, 3, 5, 10, 12, 37, 61, 75, 83, Government, 81, 88, 90, 91, 119, 199 121, 194, 200 The Future of History, 189 Graham, Stanley, 49 Gray, David, 47, 50, 51, 52, 56–59 Grease, 37 G The Great Dictator, 181 Gagliardi, Giuseppe, 126 Greek mythology, 178 Gandolfni, James, 104 Greene, Graham, 5, 13, 15 Gang, 116, 117, 120, 132 Greene, Robert, 126 García-Carpintero, Manuel, 27 Greenough, George, 36 Gardini, Gina, 116 Grierson, John, 68 Gates, Barbara T., 188, 200 Grønbech, Jens, 144 Gaul, Anny, 80 Gross, Paul, 35, 42 Gay, Peter, 188, 200 Grounded fction, 165, 166, 173, 181, Geertz, Clifford, 133 182 Gender, 80, 81, 171 The Guardian, 35 Generic fusion, 167, 168 Guattari, Felix, 167 Genital mutilation, 4, 6, 75, 81, 82, 84 Gugler, Josef, 74, 76 Genre, 7, 16, 41–43, 49, 51, 58, 62, Gulf War, 99 69, 98–102, 104, 105, 113, 114, Guynn, William, 12, 23 125, 126, 128, 131, 169, 170, Gwynne, Geraldine, 178 187, 188, 203 Genre convention, 125 Genre elements, 126 H George, Sam, 44 Haglund, David, 106 Gerini, Claudia, 122 Hamilton, Bill, 36 Index 219

Hamm, Nick, 126 Historical flm studies, 11, 12–14, 16, Hand-held cameras, 94 17, 20, 21 Handheld documentary-realism, 75 Historical Irony, 196, 197 Hansard, 191, 194, 195, 197 Historical issue, 145 Happening, 54, 100, 106, 149, 176, Historically accurate, 49 196 Historically authentic, 59 Harris, Mark, 94 Historical materials, 5, 17, 25 Hartocollis, Anemona, 97 Historical narrative, 96, 188, 196 Harvey, Nick[Karl Urban], 48, 52–54 Historical period, 200 Haskell, Molly, 126 Historical record, 53, 188, 203 Havens, Timothy, 149, 151 Historical representation, 9, 188, 202 Hawai’i, 39, 45 Historical research, 188, 190, 197, Hayden, Michael, 93 200 Health, 39, 119 Historical source materials, 14 Hedemann, Ole, 149, 151, 152 Historical stories, 200, 203 Henry, 126 Historical theorists, 188 Herman, David, 22 Historical theory, 188, 195 Hermeneutics, 114, 130 Historical truth, 25, 189, 203 Hermeneutics of silence, 192 Historical writing, 201 Hero, 7, 41, 79, 94, 101–105, 124 Historicity, 112, 130 Hero of a Thousand Faces, 181 Historicity value, 115 The Hero with a Thousand Faces, 124 Historiographic studies, 70 Heselius, Björn, 151 Historiographic weight, 61 Hijab, 82 Historiography, 17, 21, 22, 75, 189, Hinds, Tony, 126 193, 200, 203 Historian, 6, 12, 14, 19, 20, 22, History, 4, 9–22, 24–27, 33, 39, 41, 25, 27, 28, 60, 106, 188–191, 49, 51, 52, 56–62, 70, 87, 92, 193–198, 200, 202, 203 97, 98, 100, 111, 122, 126, Historian in Spite of Myself, 22, 27, 28 130, 132, 169, 170, 187–193, Historical accuracy, 62 195–198, 200, 201, 203, 204 Historical adaptation, 5 History as artwork, 189 Historical agents, 190, 200 History of emotion, 191, 192, 200 Historical context, 12, 92 History on Film/Film on History, Historical debate, 68 13–14, 19, 26, 27 Historical discourse, 9, 188, 196, 198 History, types of, 9 Historical drama, 200 Hodgeson, Thomas, 201, 202 Historical event, 12, 13, 49, 50, Holden, Chiquita, 52–54, 62 54–56, 58, 97, 98, 196 Holden, Gary, 52, 57 Historical fact, 20, 49, 97, 98, 196 Holdoway, Dom, 115 Historical fction, 187, 188 Hollywood, 7, 25, 27, 34, 35, 37, 42, Historical fgure, 9, 16, 25, 53, 195, 201 45, 56, 82, 87–89, 95, 96, 98, Historical flm, 16, 21, 23, 25, 26, 89, 99, 102, 103, 105, 106, 125 187, 198, 200, 203 Hollywood blockbuster, 56, 89, 98, 106 220 Index

Hollywood cinema, 7, 87 Il Sole 24 ore, 132 Hollywood Don’t Surf, 44 Image, 38, 40, 43, 67, 72, 73, 75, 80, Hollywood-style, 82 81, 82, 84, 90, 94, 96, 122, 156, Holocaust, 97, 98 167, 170, 173, 198 Holquist, Michael, 169 Imaginary, 15, 21, 27, 168, 203 Home Box Offce (HBO), 7, 112, 113 Imagination, 24, 69, 106, 169, 190, Homeland, 106 195, 200 Homer, 174 Imaginative (re)construction, 168 Homosexuality, 124 Imax, 36 Honouring Aramoana featurettes, 48 Imitation, 36, 114, 167, 174, 203 Hopewell, John, 145, 158 Impact, 55, 57, 60, 84, 92, 95, 100, Horror, 6, 70, 90, 96, 180 129, 131 House of Cards, 112 Implication, 21, 24, 53, 72, 167, 172, The House on 92nd Street, 15 178, 188 Huggan, Graham, 6, 57, 60, 61 Import, 17, 26 Hughes-Warrington, Marnie, 26, 27 Impression, 149, 173, 180, 181 Humanism, 130 Incident, 62, 82, 120, 198 Humanity, 4, 5, 8, 10, 91, 94, 124 Incorporate, 58, 96, 97, 152, 156, , 6, 98, 105 168, 170, 174, 188 Hutcheon, Linda, 48–51, 57–59, 63 Incredulity, 130 Hutchings, Tim, 178 Independent cinema, 85 Hutzler, Laurie, 153, 154 Indicator, 128 Hybrid genres, 126 Indigenization, 48, 57, 58 Hybridization, 125 Indigenous media, 10 Hydraulic model, 198 Industry, 4, 35, 44, 82, 105, 144, Hyperbole, 104, 128, 197 150, 151 Hyperbolic aesthetics, 127 Inferring, 176 Hyperreality, 112, 114, 127, 128, 131 Informant, 100, 168, 170 The Inglourious Basterds, 22 Inquiring gaze, 126, 127 I Inquiry, 7, 115, 122, 127, 128, 131, ICA Frames of Representation, 126 132, 165, 169, 173, 181, 182 Idealism, 122, 180 Insight, 4, 69, 72, 151, 152, 165, Identifcation, 18, 25, 48, 57, 81 177, 190, 195, 198, 200, 204 Identify, 81, 89, 96, 105, 126, 129, Inspiration, 7, 41, 43, 69, 77, 80, 81, 132, 148, 149, 151, 152, 154, 103, 118, 129, 130, 133, 154, 158, 171, 174, 179 155, 158 Identity, 43, 74, 75, 83, 105, 120, Instagram, 149, 152, 157, 168, 171 131, 169 Instigation, 121 Ideology, 37, 58, 59, 94, 114, 169, Intended audience, 144, 149, 150, 195 152, 158 Illustration, 71 Interactivity, 172 Index 221

Intercut, 72 Islam, 79, 82 Internet, 83, 145, 167, 168 Islamabad, 91, 100, 103 Internet searches, 145 Islamic State (ISIS), 166 Interpret, 9, 18, 68, 188, 191, 192 Italian, 7, 74, 112–114, 117, 119, Interpretant, 127, 131 125, 126, 131–133 Interpretation, 18, 20, 23, 49, 57, 59, The Italianist, 115 93, 103, 166, 169, 177, 181, 188, Italy, 111–113, 115, 117, 121, 132, 144 193, 195, 196, 197, 200, 203 I, Tonya, 126 Interprete, 167 Interpreter, 51 Interpreting/adapting, 100, 182 J Interpretive theory, 133 Jaafar, Ali, 82 Interrelationship, 70, 78, 89 Jackie, 126 Interrogate, 130, 131, 167, 172 Jail, 118 Intertext, 3, 45, 89 James, William, 128 Intertextual, 6, 14, 17, 19, 36, 59 Jane Austen’s Mansfeld Park, 63 Intertextual exposition, 170 Jan Strande Ødegårdstuen, 151 Intertextuality, 59, 174 Japanese, 34, 117, 132 Intervention, 121, 172, 173 Jenkins, Keith, 188, 195, 203 Interview, 4, 6, 8, 37, 39, 43, 44, Jenter, 150 48, 51, 52, 60, 62, 67, 71, 77, Jeremiah Johnson, 33 81–83, 92, 132, 144, 146, 151, Jermyn, Deborah, 105 152, 154, 158, 165, 167, 168, JFK, 98, 145 172, 174 John Parris Springer, 68 Interview perspective, 151 Jones, Lawrence, 62 Invented, 23, 69, 195, 196, 198, 201, Jordanian, 100 203 Journalism, 71 Invention, 85, 99, 195, 198 Journalist, 6, 13, 23, 37, 88, 115, Invents, 69 117, 118, 128, 146 Investigate, 5, 82, 112, 166, 180, 189, Journals, 12, 112 193 The Journey, 126 Investigation, 82, 104, 115, 118, 132, Joyce, James, 174 165 Joyce, Richard, 133 Investigative journalists, 115 Judiciary, 123, 128 “I quattro re di Roma” (The four Julian Fellowes, 63 kings of Rome), 116, 117 Jung, Carl, 181 The Iron Lady, 126 Juxtapose, 40, 72, 83, 84 Irony, 76, 80, 82, 84, 90, 117, 130, 171, 188, 190, 196, 197, 203 Irony of Historical Authorship, 196, 197 K Irony of Justifcation, 196 Kaczmarek, Ludger, 26 Irwin, Rita, 169 Kael, Pauline, 35 222 Index

Kahneman, Daniel, 28 Layton, Bart, 126 Kammen, Michael, 101 Lazio, 117 Kaplan, E. Ann, 97 Leavy, Patricia, 181 Karena, Cynthia, 82 Lebanese Civil War, 70 Kate Plays Christine, 126 Lebanon, 70, 72 Katt, William, 34 Lee Klein, Kerwin, 61 Kaye, Celia, 45 Legitimacy, 157 Kemp Aaberg, 37, 39 Leitch, Thomas, 3, 6, 18, 19, 26, 27, Khatib, Lina, 70 36, 45, 48, 59, 62, 89, 105 Khober, Saudi Arabia, 100 Lens, 7, 113, 131, 148, 200 Khost, Afghanistan, 100 Leontius, 166, 178 Kiarostami, Abbas, 126 Leotta, Alfo, 4–6, 45 Kiss Me Not on the Eyes, 76 L’Espresso, 115–118 Kleiser, Kendal, 37 Letter from Beirut, 68, 71 Knowles, Gary, 169 Letters, 71, 169, 177 Korsgaard, Christine, 133 Levin, Carl, 92 Kroon, Frederick, 21, 27 Levi-Strauss, Claude, 167 Krutnik, Frank, 27 Liar, 181 Libya, 74, 81 Liebling, A.J., 15 L Life accounts, 168 Laass, Eva, 23, 27 Life history, 169 Là-bas: A Criminal Education (Là-bas: Life writing, 168 Educazione Criminale), 126 Lincoln, 13, 126 Labov, William, 175 Lincoln, Yvonna, 169 Lacanian, 173 Linguistic Irony, 196, 197 La Dame de Saigon, 81 Listener, 173 Lafferty, William, 27 Literal, 84, 132 Lake, Veronica, 102 Literary adaptation, 20, 25, 59 La Libertad, 45 Literary device, 198, 203 Landsberg, Alison, 8, 96, 174 Literary Film Adaptation Studies Language, 21, 85, 97, 128, 144, 152, (LFAS), 13, 16, 17, 20, 21, 24, 166, 167, 168, 190, 196, 197 25 Lansdale, Edward, 15 Literary materials, 5, 17 la politique des auteurs, 34 Literary sources, 16, 181 La Repubblica, 132 Literary source text, 48 Larger than life, 38, 124, 175 Literary theory, 195 Larraín, Pablo, 126 Literature, 4, 17, 157, 170 L.A. Times, 35 Literature/Film Quarterly (LFQ), 4, Laub, Dori, 97 10, 59, 62 Lawrence, D.H., 173 Lived experience, 72, 73, 165–168, Laws, 124 170, 173, 174, 181 Index 223

Llewellyn, Nicholas, 179 Malibu, 37–39, 45 Lloyd, Phyllida, 126 Man Alone, 58, 60–62 Locally-orientated content, 8 Man and His Symbols, 181 Location, 7, 15, 51, 88, 92, 118 Manchevski, Milcho, 70, 84 Lombardi, Giancarlo, 115 Manconi, Federico, 117 Lombardi, Guido, 126 Mandell, Andrea, 106 London, 100, 126 Manhood, 124 The Longest Day, 13 Manifestation, 180 Loophole, 167, 173, 174 Mankiewicz, Joseph L., 15 Lopez, Gerry, 36, 37, 44 Marino, Ignazio, 118, 123 Lorenz, Chris, 19, 27 Marker, 14, 15, 23, 104 Lotz, Amanda, 149, 151 Market, 8 Love story, 73, 124 Marriott hotel, 100 Løvlie, Anders Sundnes, 148, 151, Marsh, Huw, 6, 59, 60 155, 157 Marshall, Lee, 112 Loyal, 37, 59 Martin, Mary Patricia, 27 Lucas, George, 35, 42 Marwick, Alice, 178 Ludvigsen, Jacob, 144 Massacre, 48, 58, 60 Lynton, Michael, 92 Mass customization, 151 Lyotard, Jean-François, 130, 171 Mass-murder, 57 Master text, 36, 62, 89 Material, 6, 8, 9, 10, 20, 25, 43, 51, M 54, 60, 63, 69, 115, 149, 152, Macabre, 178 154, 167, 194 MacGillivray, Greg, 36, 44 Material world, 69 Mackenzie, James, 118 Matthew Lewis Moss, 191, 194, 201 Mafa, 115, 117, 118, 125 Matthews, Jennifer Lynne, 106 Mafa Capitale, 7, 112, 115, 121, 122, Matt Sunderland, 48 126, 131, 132 Maturation/coming-of-age tale, 123 Magliana gang, 117, 132 Maturation plot, 124 Magnus, Mari (producer), 144, 149, Matuszewski, Boleslas, 12, 26 152, 157 Max Skladanowsky, 26 Main character, 39, 74, 149, 154 McAdams, Frank, 99 Mainetti, Daniele, 126 McCain, John, 92, 93 Main storyline, 119, 124, 125 McKee, Robert, 69, 84, 145 Mainstream, 25, 56, 57, 98, 126, 146 McSorley, Kevin, 99 Maker, 6, 15, 16, 39, 67, 129, 158, McVeigh, Margaret, 4, 6, 67, 72–74, 180 76, 78–85 Making Of documentary, 48 Meaning, 7, 9, 19, 20, 50, 53, 60, Making-sense, 170, 175, 181 75, 79, 114, 133, 147, 170, 171, Malcolm, Derek, 126 173, 176, 188, 189, 195–198, Male, 77, 88, 91, 92, 102, 103 203 224 Index

Media, 4–10, 12, 14, 16, 54–56, 72, Metonymy, 196 88, 90, 143, 148, 152, 166, 167, Mexico, 39 170, 174, 175, 179, 180 Mia, 150 Media ‘displays’, 179 Michel de Certeau (Ça Cinéma), 12, Media events, 56 171 Media maker, 5 Michôd, David, 113 Media-military-industrial complex, 106 Mico, Ted, 20, 26 Media organisations, 147 Micro-posts, 169 Media professional, 5, 6, 8 Middle-class, 124 Media reports, 167, 175, 177 Middle East, 60, 74, 116 Mediation, 128, 174 Migrants, 116, 179 Media use, 154, 155 Milius, John, 5, 33–45 Medium, 21, 24, 51, 69, 131, 171, 190 Miller, Eric J., 178 Melville, Sam, 40 Miller, Nancy, 167 Memento mori, 177 Mimesis, 203 Memmott, Mark, 106 Mimic, 167 Memoir, 167 Mind-independent, 17–19, 21, 22 Memorial, 170, 177, 178 Mise-en-scène, 51, 68, 94, 113 Memory, 3, 8, 44, 48, 57, 61, 70, 72, Misfortune, 179 88, 131, 167, 168, 174, 175, Misrepresentation, 189, 193, 194, 178, 179, 200, 204 198–201 Memory processes, 178 Missouri, 37 Memory studies, 14 Mittell, Jason, 156 Memory work, 60, 61 Mob, 113, 124 Merkel, Dan, 36 Mobsters, 123 Metahistories, 195 Moby Dick, 41 Metahistory: The Historical Mode, 14, 58, 68, 71, 97, 98, 130, Imagination in Nineteenth- 131, 156, 195 Century Europe, 106 Model, 44, 114, 147 Metanarrative, 130 Modern, 14, 20, 22, 59, 76, 84, 98, Metaphor, 41, 74–76, 79–81, 84, 102, 113, 150 188, 195–198, 203 Modifed, 61 Metaphoric, 9, 68, 74, 78, 90, 188, 198 Moore, Demi, 106 Metaphorical story, 79 Moral, 52, 53, 101, 104, 112, 119, Metaphoric flm, 68 132, 201 Metaphoric truth, 198 Moral anxiety, 126 Metaphysical, 173 Moral decay, 121 Metaphysical thing, 83 Moral evaluation, 112 Meta-textual, 14, 174 Moralising, 152 Method of inquiry, 165, 181 Moralistic, 8 Methods, 4, 5, 11, 58, 147, 149, 150, Moral realism, 112, 129, 131, 133 165 Morocco, 74 Index 225

Morreale, Emiliano, 113, 114, Narrative plant, 132 126–130, 132, 133 Narrative pre-construction, 175 Morris, Errol, 126, 133 Narrative segment, 124 Mortality, 178 Narrative strand, 75, 76, 78, 79 Moslet, Håkon, 157, 158 Narrative structure, 75, 78 Motif, 197 Narrative thread, 75 Movie, 12–18, 20, 24, 27, 33, 37, 39, Narrator, 23, 40, 175 41, 82, 89, 94–96, 106, 176 National audience, 61150, 155 Multi-sceptic historian, 197 National borders, 48 Multi-strand narrative structure, 75, National content, 150 120, 122 National context, 58 Munslow, Alun, 188–190, 196, 197, National Geographic Channel, 106 202, 203 National history, 56, 87 Murray, Simone, 27 National memory, 60 Museums, 114 National text, 58 Music, 50, 76, 152, 158 Nattiez, Jean-Jacques (semiotician), 50 Muslim, 154 Natural catastrophes, 180 My Favourite Film: Big Wednesday, 35 Natural disasters, 180 Mythic, 44, 130 Natural selection, 26 Mythical archetypes, 7 The Navigation of Feeling: A Mythic narrative, 123 Framework for the History of Mythology, 39, 40, 61 Emotions, 192 Myths, 20, 181 Ndràngheta, 117 Need, Approach, Benefts and Competition (NABC), 144, 147 N Negotiation, 16, 92 NABC method, 144, 147–149, 151, Negri, Piero, 112 157–158 Neo-fascism, 115 Nair, Mira, 63 Neo-noir, 125 The Naked City, 15, 27 Neo realism, 74 Narcos, 7, 112, 124 Neo-Realist, 74, 80 Narration, 72, 97, 181 Neria, Yuval, 97 Narrative, 10, 15, 22, 41, 44, 58, 60, Nesbit, Lynn, 37 68, 75, 80, 88, 92, 95, 103, 113, Netfix, 7, 111–113, 118, 122, 132 119, 122, 123, 188 Netfix docuseries, 126 Narrative arc, 122, 125 Netherlands, 144 Narrative artefact, 168 Network, 113, 118 Narrative device, 167–169, 171, 173 Neumann, Birgit, 168 Narrative discourse, 195, 203 New media, 14, 158 Narrative function, 122 New Readings, 131 Narrative history, 98 News, 59, 146, 181 Narrative placement, 81, 82 News magazine, 115 226 Index

Newspaper, 82, 90, 144, 191 O’Connor, John E., 12 Newsreel, 73 Odysseus, 174 News report, 168 Offine, 178 New Statesman, 121 O’Meagher, Steven, 51, 60 Newsworthy, 56 Once Upon a Time in Beirut, 71 , 15, 88 One Thousand and One Nights, 76 New York Magazine, 92 Online, 178 , 92 Online confessional, 4 New Zealand, 6, 48, 62 Online memorialization, 177 New Zealand Offce of Film and Online periodicals, 112 Literature Classifcation, 48, 55 Online publishing, 144 Nguyen, Hahn, 112, 125 Onomatopoeic, 177 Nightly news, 56 On-screen personas, 54 Nigro, Filippo, 122 On-set advisors, 52 Niola, Gabriele, 129 Ontological scepticism, 197 Noir, 126 Ontological shift, 49 Noir flms, 113 Ontology, 129 Normation, 129, 133 Opening sequences, 73 North American, 114 Oppenheimer, Joshua, 126 Norway, 144 Option, 16, 17 Norwegian, 144, 149 Oral accounts, 63 Norwegian press, 154 Organizational analysis, 4 No Small Feat, 95 Organized crime, 115, 117 Notes from Underground, 171, 174 Origin, 114 Novel, 5, 7, 13, 15, 34, 37, 60, 111, Original events, 56 112, 115, 116, 128, 132, 165 Original facts, 123 NRK, 144, 147, 149, 158 Original work, 49 NRK P3, 149 Oscars, 105 Oslo, 144 OSS, 5 O Ostia, 118 Obama, Barack, 87 ‘the other’, 179 Object, 12, 21, 41, 127, 176 Otherness, 180 Objective/observational, 127 Outside world, 127, 130 Objective ‘specimens’, 8 Oval Offce, 102 Objectivist, 18 Over-codifcation, 113, 126 Objectivity, 189 Owen, Ruth J., 131 O’Brien, Bill, 47 Observation, 127, 129, 130, 177 Observational studies, 4 P Observe, 58, 169 Pandolf, Maria, 175 O’Connor, C.Y., The Chief, 9, 187, 190 Panetta, Leon, 93, 104 Index 227

Paradigms, 112, 113, 123, 181 Pezman, Steve, 35 Paradox, 39, 54, 56, 97, 128, 180 Pham, Annika, 144, 150 Paratext, 19 Phelan, James, 27 Paris, 7, 22, 166, 168–170, 174, 176 Phenomena, 8, 13, 23, 98, 179 Paris terrorist attack, 7, 8, 165, 179, 180 Phenomenon, 25, 144 Parker-Hulme murder case, 60 Phillips, Charlie, 126 Parker, Philip, 146 Philosophy, 10, 68, 85, 129 Parody, 175 Photograph, 40, 44, 51, 59, 95, 175, Participant, 8, 23, 166, 169, 173, 182 177, 179 Past, 6, 9, 12–14, 17–22, 25, 49, 54, Photography, 171 57, 61, 71, 83, 96, 98, 100, 127, Physical, 39, 40, 42, 52, 78, 171, 198 128, 168, 180, 188–190, 192, Physical spaces, 168 193, 195, 197–204 Pierfrancesco Favino, 119 Patriarchy, 76, 83 Pierri, Marina, 112, 113, 129 Patten, Dominic, 92, 93 Pignatone, Giuseppe, 117 Patterson, Thom, 37 Pitch, 147–148 Pauleit, Winfried, 26 Piva, Alessandro, 126 Peace, 101, 102, 121 Piv Bernth, 150 Peckinpah, Sam, 45 Place, 5, 9, 14, 41, 54, 58, 60, 68, 69, Peirce, Charles Sanders, 127 91, 97, 104, 154, 170, 172, 178, Penguin, 47 190 People of Freedom, 121 Plamper, Jan, 188, 191 Perceive, 14, 16, 25, 36, 43, 72, 156, Platform, 143, 150, 152 172, 175 Platoon, 98 Perception, 18, 33, 54 Plot, 22, 83, 98, 119, 121, 126, 166, Perez, 126 167, 182 Perform, 60, 80, 102, 153, 171, 172, Plot device, 123 177, 196 Plot-driven narrative, 76 Performance, 44, 58, 80, 153, 154, Plot elements, 119 166, 172, 176, 190, 192, 195, 196 Plotline, 120, 121, 181 Performance culture, 153 Plot point, 88, 122 Performative act of habitation, 53 Plummer, Ken, 172 Performative history, 9, 188, 192, 198 Poetic and rhetorical strategies, 169 Performativity, 171 Poetic language, 196 Perpetrator, 51, 60, 63, 90 Poetry, 71–73, 81, 85, 170 Personality, 77 Point of view, 58, 152, 167, 170, 179 Personhood, 178 Police, 47, 118 Perspective, 5, 50, 51, 53–55, 152, 168 Police procedural, 15, 51 Persuade, 176 Political, 4, 15, 48, 71, 113, 121, 123, Peterson, Richard, 36 193 Petraglia, Sandro, 122 Political allegory, 121 Petronio, Barbara, 116, 122, 129 Political corruption, 4 228 Index

Political drama, 146 PrimaOnline, 113 Political journalist, 146 Primary source, 59, 62 Politically correct, 59 Primary text, 3 Political power, 121 Prime-time, 113 Political realism, 71 Print media, 200 Political thriller, 125 Problems of Dostoyevsky’s Poetics, Politicians, 92, 118, 201 170 Politics, 7, 92, 102, 115 Process, 3, 5, 50, 59 Polyphonic narrative, 166 Producer, 15, 60 Polyphonic novel, 166, 170 Production, 5, 48, 51 Polyphony, 170 Production process, 157 Pope, 119 Production team, 58 Popper, Karl R., 27 Production value, 113, 150 Pornography, 77, 84 Programme, 148, 153 Portray/Portrait, 51, 54, 124, 173, Prologue, 117 180, 181 Promoted, 148 Positivist, 18, 181 Props, 36 Post-modern, 14, 18, 20, 21, 130, Propaganda, 15 131, 188, 193, 203 Prose text, 81 Postmodernity, 130 Prost, Antoine, 12 Post-traumatic stress, 170, 174 Prosthetic memory, 8, 95, 96, 174, Power, 18, 58, 119, 204 181 Powerful creative, 57 Prosthetic Memory: The Transformation Practice, 178, 181 of American Remembrance in the Practice-based, 4 Age of Mass Culture, 96 Practitioner, 8 Protagonist, 34, 37, 96, 120, 123, Pragmatics, 115, 127, 129 124, 154, 167 Pragmatic theories, 127 Protocol, 121 Pragmatism, 128 Provisional persona, 151 Precursor text, 89 Psychoanalysis, 200 Premiere, 55, 149, 150 Psychological research, 68 Premise, 166 Psychologist, 166, 170, 172, 177, Pre-production, 156 198 Prequel, 123 Psychology, 82, 188, 200 Presence, 90, 115, 121, 122, 126, PTSD, 97 176 Public, 7, 74, 117, 150, 178, 180 Present, 6, 57, 180, 200 Public memory, 131 Presentation of the Self in Everyday Public opinion, 93, 132 Life, 166 Public service broadcasters, 143, 144, Presley, Elvis, 178 147 Press, 4, 112, 145, 193 Publishing, 10, 76, 118, 144, 149, prima` facie, 202 155, 156, 158 Index 229

Q Real time, 8, 149, 150 The Quiet American, 5, 13, 15, 16, Real world, 22, 69, 114, 127, 128, 24, 25 188 Quotes, 6, 38, 52, 60–62, 70, 130, Rebels, 118 145, 168, 170 Recall, 20, 85, 123, 178, 181 Recent history, 57 Reception, 44, 56, 59, 62, 112, 113 R Recollection, 39, 50, 167 Rabiger, Michael, 69, 84 Recontextualise, 59, 170 Raimo, Christian, 113, 127, 130 Record, 69, 84, 132, 167, 188, 203 RaiNews, 118 Recording, 68, 89, 93 Raison d’être, 114 Recreate, 51, 53, 178, 181 Rating, 55 Recreation, 193 Raw, Laurence, 26 Recuperated, 58 Rayess, Aref el, 72 Recursive retreat, 6, 61 React, 179 Reddy, William, 188, 192 Reader, 3, 6, 10, 24, 27, 48, 60, 130, Redeployed, 51 181, 182, 196 Re-described, 61 Reading, 6, 9, 15, 59, 60, 168, 175, Redmond, Sean, 105 180, 190, 194, 199 Reductio ad fabula, 126 Reading of history, 59 Redvall, Eva N., 7, 146, 149–151, Real, 49, 53, 67–69, 74, 106, 112, 154, 155, 158 114, 118, 121, 126, 130, 132, Re-enact, 126, 166, 176, 177 146, 150, 166, 168, 181, 195, Re-enactment, 175 200, 203 Reference, 21, 24, 28, 41, 59, 119, Real event, 8, 39, 53, 166, 196 154, 168, 174, 191 Real fact, 84, 121, 128, 129 Referentiality, 114, 130 Realism, 69, 71, 113, 114, 129, 197 Refect, 71, 73, 82, 99, 127, 169, 179 Real issues, 74 Refection, 7, 21, 70, 74, 81, 129, Realist, 9, 188 167, 178 Realistic, 38, 56, 98 Re-inscribing, 51 Realities, 75, 114 Reinterpretation, 59 Reality, 7, 18, 22, 56, 62, 68, 69, 71, 73, Reinvent, 57, 171 76, 78, 80, 83, 85, 89, 114, 126 Relation, 80 Reality in flm, 68 Relationship, 4, 22, 34, 44, 50, 76, Real-life, 4, 24, 60, 118, 123, 132, 80, 98, 102, 120, 148, 168, 192 146, 156, 167 Relativist, 18 Real life, 22, 40, 82, 83, 93, 146 Release date, 5 Real life events, 4, 9, 167 Relevance, 12, 21, 23, 98, 114, 144, Real life experience, 39, 146 152 Real people, 15, 39, 44, 56, 88, 126, Religious, 154, 177 181, 200 Remake, 59, 144 230 Index

Remediation, 179 Rhetorical, 59, 169 Remember, 4, 71, 83, 166, 173 Rhetorical devices, 197 Rendering, 178, 192, 197 Rhetorical mechanism, 128, 130 Replay, 53 Rhodes, Gary, 68 Report, 7, 51, 70, 115, 123, 131, Rhys, Jean, 51 180, 192 Ricoeur, Paul, 130 Reportability, 175 Riddle, Jay, 36 Reportable, 175 Riessman, Catherine Kolher, 173 Reportage, 71 Right-wing, 132 Reporter, 7, 67, 70, 78 Rinehart, Robert, 181 Reporting, 92, 167, 179 Ritual, 90, 177, 179 Reporting style, 167 Ritualized, 180 Representation, 11, 54, 57, 72, 97, Robb, David, 88 112, 114, 126, 127, 130, 173, Rolling Stone, 88 181 Romance, 103, 106, 196 Representationalist, 128 Romanina, 118 Represented, 15, 24, 122, 178, 200 Romanzo Criminale, 111, 116, 132 Reproduce, 167 Rome, 115, 117, 119, 132 Reputation, 6, 82, 103 Rosen, Philip, 130 Rereading, 6, 59 Rosenstone, Robert A., 12–14, 19, Research, 5, 9, 48, 79, 144, 145, 152, 21, 22, 26–28, 188, 198 180 Rosenwein, Barbara, 188, 190, 198 Research material, 154 Rosi, Francesco, 115 Resemblance, 124 Royal Commission, 194, 199 Reshaping, 48, 60 Rozema, Patricia, 63 Resolution, 80 Ruling, 121, 123 Resonance, 113 Rulli, Stefano, 122 Resonate, 114, 200 Rumination, 166, 173 Re-storying, 165, 180 Russell, Bertrand, 128 Restricted rating, 55 Retrospective, 59, 115 Revenge, 104, 120 S Re-versioning, 158 Saab, Jocelyne (Lebanese flmmaker), Review, 5, 35, 55, 105, 112, 125 6, 67 Revisionary, 51 Sahara, 81 Re-visioning, 10, 59 Said Mostafa, Dalia, 74 Revisionist, 61 Salon, 88 Revisit, 54 Salvatores, Gabriele, 126 Rework, 48 Sanction, 182 Rewriting, 3, 203 Sanders, Julie, 51 Rewritten, 178, 204 Santa Barbara, 45 Rhetoric, 102, 175 Sara, 150 Index 231

Sarkies, Robert (writer), 48 The Searchers, 42 Saturated, 180 Season, 112, 146 Saturation, 175 Second-hand, 174 Saunders, Max, 167 Seger, Linda, 68, 69, 145 Saving Private Ryan, 89 Selbo, Jule, 126 Scandal, 7, 115, 118, 132 Selection, 12, 16, 17, 127, 130 Scandinavian, 111, 144 Selective process, 7 Scandinavian web drama SKAM, 7, Selectivity, 190 144, 157 Self-identity, 75 Scarano, Greta, 120 Self-referentiality, 130 Scenario, 72, 166 Semantic moral realism, 129 Scene, 76–78, 80, 81, 132, 149, 177, Semantic realism, 129 197 Semantics, 128, 129 Scene photographs, 59 Semantic scepticism, 197 Schaeffer, Jean-Marie, 21, 23 Semi-documentary, 14 Schindler, Colin, 102 Semiosis, 127 Schindler’s List, 170 Senese, Michele, 117 Schmidt, Gudrun Marie, 144, 150 Senza Nessuna Pietà, 126 Schneider, Robert A., 188 September 11, 7, 54, 88, 100, 170, Scientifc-rational, 167 174 Scientifc report, 169, 170 Serial, 7, 113, 146, 150, 155 Scott, Ridley, 94, 106 Serial drama, 112, 122–124 Screen, 13, 15, 112, 115, 118, 119, Serialization, 122 127, 131 Serial narrative, 124 Screen adaptation, 7, 17, 119–125 Series, 111, 113, 144, 145 Screen fction, 127 Severson, John, 39 Screen Idea Systems, 158 Sexuality, 68, 77, 82 Screen narrative, 128 Sexual reality, 77 Screenplay, 9, 20, 48, 59, 88, 122, Shafer-Landau, Russ, 133 145, 156, 187 Shakespeare, 58 Screen representation, 127 Sherlock Holmes, 63 Screen studies, 97 Shock-value, 82 Screenwriter, 5, 33, 89, 126, 145, 188 Shooting, 4, 156 Screenwriting, 25, 145, 155, 157 Showrunner, 149, 155 Screenwriting manual, 146 Showtime, 106 Screenwriting Research Network, 67 Sicario, 7, 113 Screenwriting studies, 5 Sicilia, 117, 123 Script, 7, 8, 10, 33, 37, 53, 60, 170 Signs, 127, 128 Scriptwriting, 188 Sign-systems, 114 Seal Team 6, 88, 94, 95 Silicon Valley, 147 Seal Team Six: The Raid on Osama bin Simpson, O.J., 126 Laden, 106 Simulacrum, 114, 197 232 Index

Simulation, 114 Speaker, 173 Sinti, 117, 124, 131 Speaking, 55 Skiadaresis, Geradimos, 123 Spec research, 147 Sky, 116 Spec script, 147 Slate.com, 98 Spectator, 131, 172 Smart phone, 180 Spectatorship, 68 Smith, Michael, 133 Speech, 179 Smith, Sidonie, 171 Speech Genres and Other Late Essays, Smith, Thomas, 113 169 Snapchat, 152 Spielberg, Steven, 42, 89, 126, 170 Social, 4, 71 Stage, 80 Social artefact, 173 Stage play, 144 Social constructionist theories, 198 Stahl, Roger, 106 Social event, 178 Stanford Encyclopedia of Philosophy, Social media, 8, 144, 149, 165, 166, 133 168, 172, 200 Stanford Research Institute (SRI), 144 Social media feedback, 157 Stark, Andreas, 26 Social media memorialization, 179 Star Wars, 42 Social media profle, 178 Stereotyping, 61 Social practices, 178 Stevens, Dana, 98 Social reality, 74 Stewart, Garrett, 99 Social research, 181 Stille, Andrew, 38 Social world, 129 Stockwell, John, 106 Society, 75, 77, 83, 84, 148, 173 Stojanovic, Isadora, 133 Sollima, Stefano, 113, 126 Story, 7, 9, 20, 52, 61, 68, 69, 72, 83, Sontag, Susan, 170, 174, 175 119, 144, 166, 178, 189 SONY Pictures, 92 Story arc, 38 The Sopranos, 113 Story design, 152 So Proudly We Hail!, 102 Storying, 165 Sorlin, Pierre, 12 Storyline, 119–121, 123, 129, 151, Sound, 57, 68 154, 166 Soundtrack, 76, 90 Story strands, 83 Source, 8, 112, 168, 173, 181 Storytelling, 68, 73, 126, 146, 155, Source material, 14, 16, 17, 24, 26, 169, 170 89, 173 Straker, Victoria, 60 Source text, 3, 89 Stream, 8 Southern, Ann, 102 The Street with No Name, 15 South Island of Aotearoa New Structural analysis, 68 Zealand, 47 Structural Irony, 196 Space, 168, 169 Structural sense, 9 Spada, 117 Structure, 12, 48, 50, 75, 125, 196 Spain, 144 Stunt, 36 Index 233

Sturgeon, Nicholas, 133 Tauman, Merab, 189–191, 194, 200 Subjective-emotional, 193 Taviani, Vittorio, 115 Subjective refection, 129 Tearing Down the Spanish Flag, 99 Subjectivity, 43, 181, 189 Technical and historical, 121 Subplot, 119, 124, 166, 177 Technology, 99, 100, 122, 168, 178 Subscribers, 111 Teenager, 56, 144, 145, 149, 150, Suburra, 7, 111 152, 154, 158 Suburra: Blood on Rome, 7, 111 Teleological, 9, 26 Suf poetry, 74, 75 Television drama, 146 Suicide, 174 Television news, 51, 59 The Suicide Squad, 171 Television (TV), 4, 10, 14, 51, 59, 74, Sullavan, Margaret, 102 81, 83, 90, 95, 112, 113, 115, Summer Days Don’t Last, 37 118, 126, 144–147, 149–151, Sundance Film Festival, 74, 85, 126 155, 156, 158, 172, 180 Sunday Times, 191 Televisual dramas, 112 Sundet, Vilde Schanke, 159 Teller, 173 Supporting cast, 177 Telling, 49, 50, 52, 53, 55, 62, 68, Surfng Magazine, 35 93, 98, 125, 169, 173, 190, 200 Suzjet, 22 Temporality, 130 Swidler, Ann, 175 Tennyson, Alfred, 38 Symbol, 39, 74, 98 Terrorism, 4, 178 Symbolically charged, 175 Terrorist attack, 8, 100, 179, 180 Symbolic image, 122 Terrorist event, 179 Symbolism, 76, 197 Testimony, 79, 189 Symmons, Tom, 26 Tetley, Graeme (co-writer), 48–53, Synecdoche, 196 57–62 Synthesis, 9, 170, 203 Text(s), 3, 4, 13, 16–20, 35, 36, 43, Syria, 81, 179 45, 48, 49, 51, 58, 59, 62, 81, 88–90, 92, 165, 167, 169, 171, 173, 182, 187, 197, 203 T Textual, 3, 4, 6, 9, 14, 23, 33, 36, 50, Take Five, 126 62, 63, 68, 130, 188, 190, 197 Tale, 114, 173 Textual analysis, 4 The Tale, 126 Textual and extra-textual strategies, 33 Tammaro, Gianmaria, 113 Textual authority, 62 Tarantino, Quentin, 130, 133 Textual constructions, 130 Target audience, 144, 150, 151, 154, Textualizations, 18 158 Textualizing, 3, 45 Target group, 150–152, 154, 158 Tgcom24, 132 Target market, 151 Theatre, 34, 77, 172 Tarski, 128 Theme(s), 3, 8, 16, 68, 73–76, 79, 82, Tatanka, 126 114, 153, 154, 168, 193 234 Index

Theme parks, 114 The Tragedy, 48, 50, 55, 90 Theory, 10, 68, 69, 112, 128, 133, Tragic, 57, 62, 124, 187, 193, 196, 170, 188, 195, 198 200 Theory of language, 128 Trailer, 24, 155 Theory of meaning, 128 Transcendence, 121 Thesis, 3, 75, 76 Transcripts, 51, 59, 203 They Called Him Jeeg (Lo Chiamavano Transcultural mediated memory Jeeg Robot), 126 studies, 14 Thick concepts, 129, 133 Transferral historical event, 50 Thin centralism, 129 Transformation, 57, 127, 130, 165, Thin concepts, 129, 133 180 Third Cinema, 71 Transformative cultural memory, 61 Thomas, Rob, 54 Transformative process, 54 Thompson, Richard, 37, 43 Translatability, 121 Thomson, Ian, 121, 125 Translating, 51 Thread, 7, 75, 119, 120, 122, 173, Translation(s), 49, 111 179 Transparency, 181 Thunderheart, 98 Transplant, 58 Time, 9, 13–16, 25, 38, 41, 43, 47, Transposed, 49 49, 50, 53, 54, 58, 59, 62, 71, Transposition, 49 75, 80, 89, 93, 97, 105, 106, Trauma, 71, 166, 172, 174, 176, 177 112, 117, 119, 121, 123, 131, Trauma cinema, 98 144, 146, 147, 149, 150, 152, Trauma studies, 70, 97 154, 156–158, 168–170, 172, Traumatic, 55 173, 175, 177, 178, 180–182, Traumatic events, 165 190–192, 198, 201 Treacey, Mia E.M., 14 Time and setting, 59 Treatment, 37, 119 Timeline, 47, 175 Tredell, Nicolas, 68 Timmons, Mark, 129, 133 Trend, 126, 130 Title card, 119 Triadic correspondence, 127 Title sequence, 40, 75 Trial, 7 Top Gun, 94 Triangular structure, 48 Toplin, Robert B., 12, 25, 26 Trochim, William M.K., 19 Toronto Film Festival, 55 Trope, 196 Tourist attractions, 114 Tropology, 130 Townend, Peter, 36 True, 47 Tractatus, 128 True crime, 60 Tradition, 34, 43, 75–77, 80–83, 95, True crime thriller, 58 112, 128, 129, 177 True Detective, 7, 113 Traditional media, 166 True event adaptation, 7 Traditional past, 75 True event(s), 3, 5, 8, 9, 34, 154, 190 Tragedy, 49, 50, 52, 53, 55, 56, 60, 76, ‘true’ experience, 169 82, 90, 106, 176, 195–197, 199 True fact, 128 Index 235

True life, 68 Urban, Karl, 48, 55 True lives, 145 USC, 37 True story, 59, 89, 187 User, 148, 151, 155 Truffaut, François, 34 User-led on-demand, 112 Trustworthiness, 181 Truth, 4, 7, 18, 19, 55, 67–69, 76, 79, 81, 85, 88, 115, 127, 173, 177 V Truth and Fiction: Notes on Valdarnini, Eduardo, 122 (Exceptional) Faith in Art, 70 Value, 6, 18, 19, 22, 23, 25, 26, Truth-bearer, 128, 131 36, 42, 53, 94, 112–115, 127, Truth claim, 36, 130, 131 129–131, 133, 147–150, 156, Truth-conditional, 128 157, 194, 199, 201 Truth-conditional views, 129 Value proposition, 148, 158 Truthful, 69, 181 Vampire, 178 Truth in fction, 22 Van de Peer, Stefanie, 70, 71, 74 Truth value, 18, 129 Vanity Fair, 63 Tūrangawaewae, 58 Vasey, Ruth, 26 Turk, Hanan (Actress), 74, 82 Vatican, 7, 119, 121–123, 129, 132 Turner, Frederick Jackson, 101 Väyrynen, Pekka, 133 Tutan, Defne Ersin, 26 Veale, Kylie, 178 TV dramas, 115 Veltroni, Walter, 115, 123 TV-scape, 112 Venice, 111 Twist, 132 Verbal irony, 197 Twitter, 166, 168, 179 Verdict, 118, 132, 199, 200, 202 Vicinanza, Luigi, 117 Victim(s), 55–57, 60, 123, 166, 167, U 171, 178, 179 UBL, 88, 89, 91–95, 100, 101, 103, Victorian Suicide: Mad Crimes and 104, 106 Sad Histories, 200 Ulysses, 174 Video, 34, 56, 90, 106, 179 UNDP, 81 Video game, 56, 106 Une Nouvelle Source de l’His- Video-recording, 123 toire. Création d’un Dépôt de Vienna, 116 Cinématographie Historique, 26 Vietnam, 13, 34, 39, 40, 42, 81, 99 United States (US), 15, 87, 113, 144, Vietnam War, 34, 40, 44 155 Viewer, 12, 59, 94, 95, 97, 114, 131, Universe, 149 144, 147, 150–152, 154, 157, University of Rome, 132 158 The Unknown Masterpiece, 174 Viewing, 6, 112, 151 Unpresentable, 6 Vignette, 166, 174, 176, 178 Unreal, 179 Vilde Schanke Sundet, 150 Un-representability, 8 The Village Voice, 88 Unrepresentable events, 6 Villeneuve, Denis, 113 236 Index

Vincent, Jan-Michael, 34 Washington, 90, 104 Violence, 44, 53, 55–57, 71, 72, 91, Watson, Emily, 171 99, 100, 117, 120, 124, 180 Ways of Escape, 15, 16 Violent, 56, 72, 74 Web, 4, 7, 113, 119, 144, 150 Virtual reality, 167 Webb, Martyn, 189, 202 Virtual transformation, 171 Web-based, 8, 111, 113 Visions of the Past, 12, 14, 19, 21, 26, Web series, 4, 144 27 Website, 70, 112, 132, 149, 150 Visual, 9, 50, 177 Web-TV, 145 Visual culture, 189, 190 Welles, Orson, 24 Visual metaphors, 198 West Australian, 191, 192, 195, Visual work, 189 199 Vivarelli, Nick, 112 Western, 42, 104, 129, 179 Voice, 40, 44, 51, 53, 71, 73, 151, Western Australia, 187, 201 169, 170, 171, 179, 182, 191 Wharton, David, 36, 39, 44 Voice over, 39, 40, 44, 71, 73 What Makes Danish TV Drama Series Voice over narration, 44 Travel, 159 Voltolini, Alberto, 21 Whatsapp, 168 Whetmore, Edward J., 145 White, Hayden, 9, 12, 97, 188, 195, W 196, 203 Waade, Anne Marit, 159 White, Tim (producer), 51, 60 Wahab, Abdel, 76 The Wide Sargasso Sea, 51 Walker, Janet, 98 The Wild Bunch, 45 Walker, Maxton, 35 Wilkinson, Alissa, 126 Wang, Ben, 97 Williams, Bernard, 133 Wang, Laura Friis, 151, 153, 154 Wills, Spider, 36 War, 6, 13, 14, 67, 70, 71, 81, 117, , 33, 38 121 Winnicott, Donald, 41 War correspondent, 67 Winter, Jessica, 89, 93–95, 105 War flm, 13, 87, 94–95, 98–102, The Wire, 113 105–106 Wisconsin State Journal, 54 Warga, Wayne, 41, 43 Witness, 70, 80, 82, 87, 89, 90, 95, War hero, 7, 101–103, 105 174, 192 Warner Bros, 38 Wittgenstein, 128 War of the Worlds, 24 Women, 6, 48, 51, 68, 74–76, 77–83, War reporter, 70 99, 102–103, 131 War/terrorism, 4, 6–7, 13–14, 24, Woodcock, Bruce, 53 34, 39, 40, 42, 44, 60, 67, Woolf, Virginia, 176 70–74, 81, 94–95, 99–106, Worden, Hank, 42 116–117 Word-image divide, 21, 24 War-zone, 71–72 Work of fction, 8, 127, 165–166, 173 Index 237

World, 7, 12, 18–19, 22, 24, 27, 35, X 36, 38, 43, 56, 69–70, 73–74, Xenophobia, 124 80, 85, 87–89, 94–95, 98–100, 102, 105, 114–115, 124, 127, 129–132, 145, 152, 157, 167, Y 170, 177, 145 Young audience, 143–145, 149, Worlds of others, 170 151–152, 155, 157–158 World Trade Center, 89, 95 Young viewers, 147 World view, 157 Youtube, 168 World War II, 14, 94, 99, 116 Wormwood, 126, 133 Wright, Joe, 126 Z Writer, 7, 48, 59, 69, 74, 101, 121, , 6, 87, 88, 89, 90, 122, 129, 146, 147, 187, 190, 92–101, 105–106 200 Žižek, Slavoj, 172 Writing, 5, 9, 12, 20, 27, 38, 71, 92, Zorzi, Delfo, 132 98, 104, 123, 129, 132, 148, Zuma Beach, 37 156, 168, 169, 187–190, 190, 193, 200, 201 Wulff, Hans J., 26