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The writer on filmscreening literary authorship /

Record Type:	Electronic resources : Monograph/item
Title/Author:	The writer on film[edited by] Judith Buchanan.
Reminder of title:	screening literary authorship /
other author:	Buchanan, Judith.
Published:	New York :Palgrave Macmillan,2013.
Description:	1 online resource.
Subject:	Authors in motion pictures.
Online resource:	https://link.springer.com/book/10.1057/9781137317230
ISBN:	9781137317230 (electronic bk.)

The writer on filmscreening literary authorship /
The writer on filmscreening literary authorship /[electronic resource] :[edited by] Judith Buchanan. - New York :Palgrave Macmillan,2013. - 1 online resource.

Machine generated contents note: -- Introduction; Judith Buchanan -- PART I: CINEMA'S VERSIONS AND USES OF LITERACY LIVES -- 1. Authorship, Imagination and the Cinema; Laura Marcus -- 2. Gendered Authorship I: the Female Writer. Here is the Story of my Career...: the Woman Writer on Film; Sonia Haiduc -- 3. Gendered Authorship II: the Male Writer. Mad, Bad and Dangerous to Know: Screening Authorial Masculinity in Sylvia (2003) and The Edge of Love (2008); Sian Harris -- 4. Romantic Authorship. Romantic Genius on Screen: Jane Campion's Bright Star (2009) and Julien Temple's Pandaemonium (2000); Julian North -- 5. Authorship Iconized, Metonymized, Debunked. The Tables of Memory: Shakespeare, Cinema and the Writing Desk; Megan Murray-Pepper -- 6. Commercialized Authorship. Brit Lit Biopics, 1990-2010; Andrew Higson -- 7. Literary Biopics and Literary Biographies. Visions of Authorship: a Literary Biographer's Perspective; Geoffrey Wall -- PART II: CINEMA'S FICTIONAL AUTHORS AND AUTHORIAL PROXIES -- 8. Adaptation as Encoded Authorial Biography I. Biographical Wish-Fulfilment in the Hemingway Screen Adaptations; R. Barton Palmer -- 9. Adaptation as Encoded Authorial Biography II. Becoming Jane in Adaptations of Austen's Fiction; Deborah Cartmell -- 10. Authorial Proxies. Duplicated and Duplicitous Self-configurings in Kaufman's Adaptation (2002); Gennelle Smith -- 11. Configuring Authorial Absence. Writing the Endings of Cinema: Evocations of Authorial Absence in the Cinematic Paratext from The Tempest to the Book of Kells; Richard Burt -- 12. Fictional Writers on Screen: Letter Writers. Deliveries of Absence: Epistolary Structures in Classical Cinema; Clara Rowland -- 13. Fictional Writers on Screen: Diarists. Far from Literature: Writing as Bare Act in Robert Bresson's Journal d'un cure; de campagne (1951); Erica Sheen -- 14. Fictional Writers on Screen: Playwrights and Documentarists. Documentary Li(v)es: Writing Falsehoods, Righting Wrongs in von Donnersmarck's The Lives of Others (2006); Judith Buchanan.

"Recent years have seen a striking surge in the production of literary biopics. Writers turned cinema subject in recent films include Shakespeare, Jane Austen, Virginia Woolf, Iris Murdoch, Dylan Thomas, Sylvia Plath, Ted Hughes, Lillian Hellman, Allen Ginsberg, Kafka, Keats, Kaufman, and many more. This cultural phenomenon prompts a re-examination of a long and varied history of cinematic engagements with authorial creativity. The Writer on Film examines films about writers, real and fictional, from the silent era to the present. It asks how filmmakers have narratively and iconographically configured writers' lives and acts of writing. How might the mysterious processes of a literary imagination at work be cinematically expressed? What views of inspiration, muses, redrafting and publication have films taken and how, in cinematic representation, have these been gendered? How has cinema chosen to configure the tools and symbols of writing - quills, pens, ink pots, desks, studies, typewriters, keyboards and books? And what cultural and commercial agendas are revealed in cinema's compulsive return not just to literary material (whose story is already well told) but, specifically, to literary process (whose story is not)? Case studies include Diary of a Country Priest, Letter from an Unknown Woman, Julia, My Brilliant Career, Prospero's Books, Adaptation, Shakespeare in Love, Sylvia, The Lives of Others, Becoming Jane, Atonement, Bright Star, Enid and Howl"--

ISBN: 9781137317230 (electronic bk.)

Source: 521509Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

644629
Authors in motion pictures.
Index Terms--Genre/Form:

214472
Electronic books.

LC Class. No.: PN1995.9.A84 / W75 2013

Dewey Class. No.: 791.43/651

The writer on filmscreening literary authorship /
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003 OCoLC
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006 m o d
007 cr cn|||||||||
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020 $a 9781137317230 (electronic bk.)
020 $a 113731723X (electronic bk.)
035 $a (OCoLC)844735153
035 $a ocn844735153
037 $a 521509 $b Palgrave Macmillan $n http://www.palgraveconnect.com
040 $a UKPGM $b eng $c UKPGM $d N $d IDEBK $d YDXCP
049 $a TEFA
050 4 $a PN1995.9.A84 $b W75 2013
072 7 $a ART $x 057000 $2 bisacsh
072 7 $a PER $x 004040 $2 bisacsh
082 0 4 $a 791.43/651 $2 23
245 0 4 $a The writer on film $h [electronic resource] : $b screening literary authorship / $c [edited by] Judith Buchanan.
260 $a New York : $b Palgrave Macmillan, $c 2013.
300 $a 1 online resource.
505 8 $a Machine generated contents note: -- Introduction; Judith Buchanan -- PART I: CINEMA'S VERSIONS AND USES OF LITERACY LIVES -- 1. Authorship, Imagination and the Cinema; Laura Marcus -- 2. Gendered Authorship I: the Female Writer. Here is the Story of my Career...: the Woman Writer on Film; Sonia Haiduc -- 3. Gendered Authorship II: the Male Writer. Mad, Bad and Dangerous to Know: Screening Authorial Masculinity in Sylvia (2003) and The Edge of Love (2008); Sian Harris -- 4. Romantic Authorship. Romantic Genius on Screen: Jane Campion's Bright Star (2009) and Julien Temple's Pandaemonium (2000); Julian North -- 5. Authorship Iconized, Metonymized, Debunked. The Tables of Memory: Shakespeare, Cinema and the Writing Desk; Megan Murray-Pepper -- 6. Commercialized Authorship. Brit Lit Biopics, 1990-2010; Andrew Higson -- 7. Literary Biopics and Literary Biographies. Visions of Authorship: a Literary Biographer's Perspective; Geoffrey Wall -- PART II: CINEMA'S FICTIONAL AUTHORS AND AUTHORIAL PROXIES -- 8. Adaptation as Encoded Authorial Biography I. Biographical Wish-Fulfilment in the Hemingway Screen Adaptations; R. Barton Palmer -- 9. Adaptation as Encoded Authorial Biography II. Becoming Jane in Adaptations of Austen's Fiction; Deborah Cartmell -- 10. Authorial Proxies. Duplicated and Duplicitous Self-configurings in Kaufman's Adaptation (2002); Gennelle Smith -- 11. Configuring Authorial Absence. Writing the Endings of Cinema: Evocations of Authorial Absence in the Cinematic Paratext from The Tempest to the Book of Kells; Richard Burt -- 12. Fictional Writers on Screen: Letter Writers. Deliveries of Absence: Epistolary Structures in Classical Cinema; Clara Rowland -- 13. Fictional Writers on Screen: Diarists. Far from Literature: Writing as Bare Act in Robert Bresson's Journal d'un cure; de campagne (1951); Erica Sheen -- 14. Fictional Writers on Screen: Playwrights and Documentarists. Documentary Li(v)es: Writing Falsehoods, Righting Wrongs in von Donnersmarck's The Lives of Others (2006); Judith Buchanan.
520 $a "Recent years have seen a striking surge in the production of literary biopics. Writers turned cinema subject in recent films include Shakespeare, Jane Austen, Virginia Woolf, Iris Murdoch, Dylan Thomas, Sylvia Plath, Ted Hughes, Lillian Hellman, Allen Ginsberg, Kafka, Keats, Kaufman, and many more. This cultural phenomenon prompts a re-examination of a long and varied history of cinematic engagements with authorial creativity. The Writer on Film examines films about writers, real and fictional, from the silent era to the present. It asks how filmmakers have narratively and iconographically configured writers' lives and acts of writing. How might the mysterious processes of a literary imagination at work be cinematically expressed? What views of inspiration, muses, redrafting and publication have films taken and how, in cinematic representation, have these been gendered? How has cinema chosen to configure the tools and symbols of writing - quills, pens, ink pots, desks, studies, typewriters, keyboards and books? And what cultural and commercial agendas are revealed in cinema's compulsive return not just to literary material (whose story is already well told) but, specifically, to literary process (whose story is not)? Case studies include Diary of a Country Priest, Letter from an Unknown Woman, Julia, My Brilliant Career, Prospero's Books, Adaptation, Shakespeare in Love, Sylvia, The Lives of Others, Becoming Jane, Atonement, Bright Star, Enid and Howl"-- $c Provided by publisher.
588 $a Description based on print version record.
650 0 $a Authors in motion pictures. $3 644629
650 0 $a Writing in motion pictures. $3 644630
650 7 $a PERFORMING ARTS / Film & Video / General. $2 bisacsh $3 564898
650 7 $a PERFORMING ARTS / Film & Video / History & Criticism. $2 bisacsh $3 564897
650 7 $a SOCIAL SCIENCE / Media Studies. $2 bisacsh $3 564624
650 7 $a ART / Film & Video $2 bisacsh $3 564899
650 7 $a PERFORMING ARTS / Film & Video / Reference $2 bisacsh $3 564900
655 4 $a Electronic books. $2 local. $3 214472
700 1 $a Buchanan, Judith. $3 644628
776 $6 403834 $t The writer on film
856 4 0 $3 Palgrave Connect $u https://link.springer.com/book/10.1057/9781137317230
938 $a EBSCOhost $b EBSC $n 593023
938 $a Ingram Digital eBook Collection $b IDEB $n cis25645516
938 $a YBP Library Services $b YANK $n 10750909
994 $a C0 $b TEF

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