From fidelity to history film adaptations as cultural events in the twentieth century /
I tiakina i:
| Kaituhi matua: | |
|---|---|
| Kaituhi rangatōpū: | |
| Hōputu: | Tāhiko īPukapuka |
| Reo: | Ingarihi |
| I whakaputaina: |
New York :
Berghahn Books,
2013.
|
| Rangatū: | Transatlantic perspectives ;
11 |
| Ngā marau: | |
| Urunga tuihono: | An electronic book accessible through the World Wide Web; click to view |
| Ngā Tūtohu: |
Tāpirihia he Tūtohu
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
|
Rārangi ihirangi:
- Introduction
- Adaptation as reception: how film historians can contribute to the "literature to film" debates
- Post Cold War readings of the receptions of Anglo-American Hollywood. Adaptations in Cold War West Germany: 1950-1963
- "Eine revolution des films": The third man (1949), the Cold War, and alternatives to nationalism and "coca-colonization" in Europe
- The bridge on the River Kwai (1957) revisited: combat cinema, American culture and the German past
- "Josef K von 1963": Orson Welles' "Americanized" version of the the trial and the changing functions of the "Kafkaesque" in Cold War West Germany
- Postfeminist relations between "classic" texts and Hollywood film adaptations in the United States in the 1990s: Introduction. "Jane-mania": the Jane Austen film boom in the 1990s
- Thelma and sense and Louise and sensibility: challenging dichotomies in women's history through film and literature
- "Jamesian proportions": the Henry James film boom in the 1990s
- Conclusion
- A case for the "case study": the future of adaptation studies as a branch of transnational film history.