Deborah Cartmell
Biographic Data
| ID | 5935691 |
|---|---|
| NAME | Deborah Cartmell |
| GIVEN NAMES | Deborah |
| FAMILY NAME | Cartmell |
| SIGNATURE | CARTMELL D |
| AFFILIATIONS | De Montfort University |
| ORCID | 0000-0001-5791-3722 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 0 |
Where is Adaptation?
Where is Adaptation? Mapping cultures, texts, and contexts explores the vast terrain of contemporary adaptation studies and offers a wide variety of answers to the title question in 24 chapters by 29 international practitioners and scholars of adaptation, both eminent and emerging. From insightful self-analyses by practitioners (a novelist, a film director, a comics artist) to analyses of adaptations of place, culture, and identity, the authors b…
Now A Major Motion Picture
Over the last few years an unprecedented number of groundbreaking works have taken the field of adaptation beyond the edges of ‘Lit Crit’ and onto another level. As Linda Hutcheon1 has so thoroughly argued, adaptations make explicit what is sometimes only implicit in all books, films, plays, paintings, and so on: that all art is based upon other art. This ‘explicitness’ is what Christine Geraghty defines as ‘a recognition of ghostly presences and…
Film as the New Shakespeare and Film on Shakespeare
This article considers the ultimately successful quest for film to be regarded as, not a mere imitator of literature, but the ‘new literature’, or as Allardyce Nicoll intimates in 1936, ‘the new Shakespeare’. This seemingly persistent conception of film as the new Shakespeare accounts, in part, for long‐standing prejudicial attitudes to literature on screen, including cinematic appropriations of Shakespeare, over the last two centuries
No prominent works on this page.
Film as the New Shakespeare and Film on Shakespeare
This article considers the ultimately successful quest for film to be regarded as, not a mere imitator of literature, but the ‘new literature’, or as Allardyce Nicoll intimates in 1936, ‘the new Shakespeare’. This seemingly persistent conception of film as the new Shakespeare accounts, in part, for long‐standing prejudicial attitudes to literature on screen, including cinematic appropriations of Shakespeare, over the last two centuries
Now A Major Motion Picture
Over the last few years an unprecedented number of groundbreaking works have taken the field of adaptation beyond the edges of ‘Lit Crit’ and onto another level. As Linda Hutcheon1 has so thoroughly argued, adaptations make explicit what is sometimes only implicit in all books, films, plays, paintings, and so on: that all art is based upon other art. This ‘explicitness’ is what Christine Geraghty defines as ‘a recognition of ghostly presences and…
Where is Adaptation?
Where is Adaptation? Mapping cultures, texts, and contexts explores the vast terrain of contemporary adaptation studies and offers a wide variety of answers to the title question in 24 chapters by 29 international practitioners and scholars of adaptation, both eminent and emerging. From insightful self-analyses by practitioners (a novelist, a film director, a comics artist) to analyses of adaptations of place, culture, and identity, the authors b…
Psychology (3 works) · Art (2 works) · Cinema and Media Studies (2 works) · Computer Science (2 works) · Shakespeare, Adaptation, and Literary Criticism (2 works) · Adaptation (eye (1 work) · Adaptation (eye) (1 work) · Aesthetics (1 work) · Artificial Intelligence (1 work) · Artificial Intelligence (1 work)