FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2019960601> ?p ?o ?g. }

• W2019960601 endingPage "68" @default.
• W2019960601 startingPage "46" @default.
• W2019960601 abstract "In the field of adaptation studies, much critical energy has been expended in the name of fidelity in order to judge the supposed 'faithfulness' of the adapted text to its source. In this essay, I seek to trouble this methodology by offering more dialogic approach, one in which literary and cinematic works are reconceived as textual engines generating and circulating affect, and the adaptive process is conceptualized as generative drifting of those intensities from one medium to another. I examine Susanna Moore's 1995 novel In the Cut and Jane Campion's 2003 filmic adaptation of the same name not with an eye toward commonalities and divergences in storyline or character motivations, but rather with focus on the affective forces fostered by Moore's text and the ways they are tapped into by Campion's adaptation. In particular, I shall illustrate how Moore's novel is carefully calibrated exercise in discomfort and dread, work formally configured to unsettle readers through the continual invocation and subversion of tropes and expectations. I then examine how the equally self-reflexive and intertextual aesthetic employed by Campion is able to redirect the affects generated by Moore's prose in the passage from page to screen. In the process, I intend to demonstrate how each text sets up unique dialogue with and deconstruction of prior styles and genres within the terms of its own medium, so that both function as critical meditations on the seemingly fragmented nature of postmodern identity. By engaging with these two works in this manner, I hope to model more fluid and flexible strategy for analyzing cinematic adaptations of literary precursors. This strategy is less concerned with offering judgment than with contemplating what is productive and revealing about the adaptive process, and should therefore hold promise for the constructive explication of more overtly and self-consciously 'unfaithful' film adaptations.Modernism, Postmodernism, and Noir VisionIn her New York Times review of Susanna Moore's In the Cut, Michiko Kakutani described the novel as noir thriller, and she was far from being the only reviewer to employ this terminology (1995). In light of such critical accord, it is worth considering for moment what exactly reviewers mean when they characterize work as 'noir,' and why they judged Moore's text to be issuing from and drawing on traditions. For despite the frequency and laxity with which the term pops up in our critical and everyday lexicons, the term has, historically speaking, been notoriously slippery. Numerous film and literary scholars have pondered over the years whether represents an independent genre or simply an aesthetic philosophy, and whether it suggests specific thematic and narrative content or merely set of distinctive stylistic codes. James Naremore succinctly crystallizes this definitional dilemma when he posits that there is no completely satisfactory way to organize the category, which explains why has been variously identified as everything from mood, to period, to cycle, to style, to phenomenon (1998, 9). Indeed, such categorical uncertainty has led Slavoj Zizek to speculate that perhaps is not so much genre unto itself as a kind of anamorphic distortion affecting different genres, making it vampire-like entity which, in order to be kept alive, need[s] an influx of fresh blood from other sources (1993, 199). However, amidst these persistent differences in classification and characterization, there have emerged few points on which most students of can agree. As critical appellation, finds its origin in the phrase roman noir, or 'black book,' applied by French critics of the early 1940s to the brand of 'hard-boiled' crime fiction pioneered by American writers like James M. Cain and Dashiell Hammett (Bordwell, Staiger and Thompson 1985, 79). In the mid- 1940s the term was adopted by film critics, in the expression film (literally 'black film') to describe series of contemporary American crime movies that were distinguished by their brutality, moral ambiguity, and sexual tension, movies that borrowed both storylines and attitudes from what David Madden calls the tough guy novels of the 1930s (1968, xvi). …" @default.
• W2019960601 created "2016-06-24" @default.
• W2019960601 creator A5015750091 @default.
• W2019960601 date "2012-01-01" @default.
• W2019960601 modified "2023-10-17" @default.
• W2019960601 title "A Dark-Adapting Eye: Susanna Moore, Jane Campion, and the Fractured World of Postmodern Noir" @default.
• W2019960601 cites W1524073218 @default.
• W2019960601 cites W1529046439 @default.
• W2019960601 cites W1541579507 @default.
• W2019960601 cites W1542033628 @default.
• W2019960601 cites W1548372642 @default.
• W2019960601 cites W1572770095 @default.
• W2019960601 cites W1600025011 @default.
• W2019960601 cites W1605610138 @default.
• W2019960601 cites W1974496296 @default.
• W2019960601 cites W1984645963 @default.
• W2019960601 cites W1985206359 @default.
• W2019960601 cites W1986647361 @default.
• W2019960601 cites W2038859510 @default.
• W2019960601 cites W2072079958 @default.
• W2019960601 cites W216710082 @default.
• W2019960601 cites W2531179112 @default.
• W2019960601 cites W2798320000 @default.
• W2019960601 cites W563176377 @default.
• W2019960601 cites W603807926 @default.
• W2019960601 cites W606920026 @default.
• W2019960601 cites W611117890 @default.
• W2019960601 cites W647596792 @default.
• W2019960601 cites W98041438 @default.
• W2019960601 cites W143311877 @default.
• W2019960601 doi "https://doi.org/10.1353/lit.2012.0040" @default.
• W2019960601 hasPublicationYear "2012" @default.
• W2019960601 type Work @default.
• W2019960601 sameAs 2019960601 @default.
• W2019960601 citedByCount "0" @default.
• W2019960601 crossrefType "journal-article" @default.
• W2019960601 hasAuthorship W2019960601A5015750091 @default.
• W2019960601 hasConcept C107038049 @default.
• W2019960601 hasConcept C11171543 @default.
• W2019960601 hasConcept C124952713 @default.
• W2019960601 hasConcept C142362112 @default.
• W2019960601 hasConcept C15744967 @default.
• W2019960601 hasConcept C509535802 @default.
• W2019960601 hasConceptScore W2019960601C107038049 @default.
• W2019960601 hasConceptScore W2019960601C11171543 @default.
• W2019960601 hasConceptScore W2019960601C124952713 @default.
• W2019960601 hasConceptScore W2019960601C142362112 @default.
• W2019960601 hasConceptScore W2019960601C15744967 @default.
• W2019960601 hasConceptScore W2019960601C509535802 @default.
• W2019960601 hasIssue "4" @default.
• W2019960601 hasLocation W20199606011 @default.
• W2019960601 hasOpenAccess W2019960601 @default.
• W2019960601 hasPrimaryLocation W20199606011 @default.
• W2019960601 hasRelatedWork W2065655081 @default.
• W2019960601 hasRelatedWork W2107995045 @default.
• W2019960601 hasRelatedWork W2208699368 @default.
• W2019960601 hasRelatedWork W2356844778 @default.
• W2019960601 hasRelatedWork W2370617320 @default.
• W2019960601 hasRelatedWork W2391115397 @default.
• W2019960601 hasRelatedWork W2604472388 @default.
• W2019960601 hasRelatedWork W2748952813 @default.
• W2019960601 hasRelatedWork W2888919988 @default.
• W2019960601 hasRelatedWork W2626145672 @default.
• W2019960601 hasVolume "39" @default.
• W2019960601 isParatext "false" @default.
• W2019960601 isRetracted "false" @default.
• W2019960601 magId "2019960601" @default.
• W2019960601 workType "article" @default.