Adapting Henry James to the Screen: Gender, Fiction, and FilmScarecrow Press, 2007 - 297 "This book shows how changing priorities affected the ways in which James's novels were translated to the screen and how gender relations were addressed. Raw discusses most of the major adaptations, beginning with Berkeley Square (1933) and culminating with James Ivory's The Golden Bowl (2000). This book also offers new readings of well-known adaptations and considers works that have been critically neglected, such as The Lost Moment (1947), The House in the Square (1951), The Haunting of Hell House (1999), and the four television versions of The Turn of the Screw produced between 1974 and 1999. Adapting Henry James to the Screen is the most comprehensive survey published on James's work on film and television."--Jacket. |
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Strona 138
... shooting in late autumn to glorious advantage , with the turbulent reds , golds , russets and greens of New England flora adding a natural richness to the large simplicities of the Wentworth man- sion . " Program Notes , National Film ...
... shooting in late autumn to glorious advantage , with the turbulent reds , golds , russets and greens of New England flora adding a natural richness to the large simplicities of the Wentworth man- sion . " Program Notes , National Film ...
Strona 144
... shooting the entire sequence from the governess's point of view , except for a medium shot at the end when Quint appears on the right of the frame , as the governess runs out of the left side . The only sound we can hear is Quint's ...
... shooting the entire sequence from the governess's point of view , except for a medium shot at the end when Quint appears on the right of the frame , as the governess runs out of the left side . The only sound we can hear is Quint's ...
Strona 253
... shoot this scene using anamorphic lenses , which would " slightly blur the background , make it softer in focus than the foreground " and hence focus attention on plot . However , he was also well aware that " our sets , being so ...
... shoot this scene using anamorphic lenses , which would " slightly blur the background , make it softer in focus than the foreground " and hence focus attention on plot . However , he was also well aware that " our sets , being so ...
Spis treści
Chapter 2 | 30 |
The Heiress 1949 | 39 |
Ill Never Forget You 1951 | 51 |
Prawa autorskie | |
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