Border crossing Russian literature into film
Applying the metaphor of the 'border crossing' from one temporal or spatial territory into another, Border Crossing: Russian Literature into Film examines the way classic Russian texts have been altered to suit new cinematic environments.
| Otros Autores: | , , |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Edinburgh :
Edinburgh University Press
2016.
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| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009433071706719 |
Tabla de Contenidos:
- Frontmatter
- Contents
- List of Figures
- Notes on the Contributors
- Introduction: Filming Russian Classics—Challenges and Opportunities
- 1 Across the Russian Border
- 2 Dostoevskii’s “White Nights”: The Dreamer Goes Abroad
- 3 On Not Showing Dostoevskii’s Work: Robert Bresson’s Pickpocket
- 4 Stealing the Scene: Crime as Confession in Robert Bresson’s Pickpocket
- 5 The Eye-deology of Trauma: Killing Anna Karenina Softly
- 6 “A Vicious Circle”: Karen Shakhnazarov’s Ward no. 6
- 7 A Slap in the Face of American Taste: Transporting He Who Gets Slapped to American Audiences
- 8 Against Adaptation? The Strange Case of (Pod) Poruchik Kizhe
- 9 Chasing the Wealth: The Americanization of Il’f and Petrov’s
- 10 Fassbinder’s Nabokov—From Text to Action: Repressed Homosexuality, Provocative Jewishness, and Anti-German Sentiment
- 11 “The Soviet Abroad (That We Lost)”: The Fate of Vasilii Aksenov’s Cult Novel A Starry Ticket on Paper and on Screen
- Conclusion: Passport Control—Departing on a Cinematic Journey
- Bibliography
- Filmography
- Index
