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Anamorphic authorship in canonical f...

Geal, Robert.

Anamorphic authorship in canonical film adaptationa case study of Shakespearean films /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Anamorphic authorship in canonical film adaptationby Robert Geal.
Reminder of title:	a case study of Shakespearean films /
Author:	Geal, Robert.
Published:	Cham :Springer International Publishing :2019.
Description:	xii, 247 p. :ill., digital ;24 cm.
Contained By:	Springer eBooks
Subject:	Film adaptationsHistory and criticism.
Online resource:	https://doi.org/10.1007/978-3-030-16496-6
ISBN:	9783030164966$q(electronic bk.)

Anamorphic authorship in canonical film adaptationa case study of Shakespearean films /
Geal, Robert.

Anamorphic authorship in canonical film adaptationa case study of Shakespearean films /[electronic resource] :by Robert Geal. - Cham :Springer International Publishing :2019. - xii, 247 p. :ill., digital ;24 cm. - Palgrave studies in adaptation and visual culture. - Palgrave studies in adaptation and visual culture..

1. Introduction -- Part I: From Barthesian and Bakhtinian to Benvenistene Adaptation Studies: Theories of Film Adaptation -- 2. Dialogism and the Radical Text -- 3. Poststructuralism and the Radical Critic -- 4. The Dead Author and the Concealed Author -- Part II: The Drama of Authorship: A Taxonomy of Anamorphic Authorship -- 5. 'Fainomaic' Adaptation from the Verbal to the Visual -- 6. 'Allagmic' Adaptation from Shakespearean to Non-(/Less-)Shakespearean Settings -- 7. The Drama of Foreknowledge -- 8. The Drama of the Diegetic Author -- 9. Conclusion.

This book develops a new approach for the study of films adapted from canonical 'originals' such as Shakespeare's plays. Departing from the current consensus that adaptation is a heightened example of how all texts inform and are informed by other texts, this book instead argues that film adaptations of canonical works extend cinema's inherent mystification and concealment of its own artifice. Film adaptation consistently manipulates and obfuscates its traces of 'original' authorial enunciation, and oscillates between overtly authored articulation and seemingly un-authored unfolding. To analyse this process, the book moves from a dialogic to a psychoanalytic poststructuralist account of film adaptations of Shakespeare's plays. The differences between these rival approaches to adaptation are explored in depth in the first part of the book, while the second part constructs a taxonomy of the various ways in which authorial signs are simultaneously foregrounded and concealed in adaptation's anamorphic drama of authorship.

ISBN: 9783030164966$q(electronic bk.)

Standard No.: 10.1007/978-3-030-16496-6doiSubjects--Personal Names:

392937
Shakespeare, William,
1564-1616--Histories.Subjects--Topical Terms:

288221
Film adaptations
--History and criticism.

LC Class. No.: PR3093 / .G435 2019

Dewey Class. No.: 791.436

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505 0 $a 1. Introduction -- Part I: From Barthesian and Bakhtinian to Benvenistene Adaptation Studies: Theories of Film Adaptation -- 2. Dialogism and the Radical Text -- 3. Poststructuralism and the Radical Critic -- 4. The Dead Author and the Concealed Author -- Part II: The Drama of Authorship: A Taxonomy of Anamorphic Authorship -- 5. 'Fainomaic' Adaptation from the Verbal to the Visual -- 6. 'Allagmic' Adaptation from Shakespearean to Non-(/Less-)Shakespearean Settings -- 7. The Drama of Foreknowledge -- 8. The Drama of the Diegetic Author -- 9. Conclusion.
520 $a This book develops a new approach for the study of films adapted from canonical 'originals' such as Shakespeare's plays. Departing from the current consensus that adaptation is a heightened example of how all texts inform and are informed by other texts, this book instead argues that film adaptations of canonical works extend cinema's inherent mystification and concealment of its own artifice. Film adaptation consistently manipulates and obfuscates its traces of 'original' authorial enunciation, and oscillates between overtly authored articulation and seemingly un-authored unfolding. To analyse this process, the book moves from a dialogic to a psychoanalytic poststructuralist account of film adaptations of Shakespeare's plays. The differences between these rival approaches to adaptation are explored in depth in the first part of the book, while the second part constructs a taxonomy of the various ways in which authorial signs are simultaneously foregrounded and concealed in adaptation's anamorphic drama of authorship.
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