By John Peck
A quick historical past of English Literature presents a full of life introductory consultant to English literature from Beowulf to the current day. The authors write of their usually lucid type which permits the reader to have interaction absolutely with the narrative and simply comprehend the texts when it comes to the social, political and cultural contexts during which they have been written. A masterpiece of readability and compression, this booklet is a must-have for an individual attracted to the historical past of literature from the British Isles.
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Matters relating to characterization, ‘‘atmosphere’’), will require of the filmmaker adaptation proper. If, that is, the filmmaker wants to achieve an equivalence in his/her 19 BRIAN McFARLANE medium for such literary effects, as distinct from scrapping them altogether in the interests of a freer retelling of the adapted fiction. ) people the attraction common to novel and film is that both create ‘‘worlds’’ and ‘‘lives’’ in more amplitude and with potentially more regard for representational realism in their detail than the other literary forms.
With many different aims and outcomes, this showdown would be restaged through the rest of the century and beyond. Kenneth Branagh’s 1996 Hamlet is a stunning 242-minute film aiming to be the first textually complete and hence faithful cinematic version of the play. 4 While the majority of casual responses to film adaptations usually call upon some notion of specificity and fidelity (the movie rarely able to do justice to the book for most viewers), the most important film scholars and critics of the twentieth century have also taken strong positions around these terms, frequently as a way of defending the power and art of cinema.
Contemporary Iranian cinema, for example, consciously exploits the cultural capital of auteurs like Abbas Kiarostami, allowing him to make films like 10 (2002), meant to undermine the very presence and importance of the director as auteur. Both film practices and studies of those practices have been dominated, since the 1950s, by models of film genre and film auteurs, both of which spring from and relate to the exchanges between film and literature. While these two critical models are commonly opposed – one representing industrial patterns and the other individual expression – their foundations in the cultural positioning of the film/literature exchange reminds us of the fluid dynamic that binds the categories.