This book examines postcolonial filmmakers adapting Victorian literature in Hollywood to contend with both the legacy of British imperialism and the influence of globalized media entities. Since decolonization, postcolonial writers and filmmakers have re-appropriated and adapted texts of the Victorian era as a way to 'write back' to the imperial centre. At the same time, the rise of international co-productions and multinational media corporations have called into question the effectiveness of postcolonial rewritings of canonical texts as a resistance strategy. With case studies of films like Gunga Din, Dracula 2000, The Portrait of a Lady, Vanity Fair and Slumdog Millionaire, this book argues that many postcolonial filmmakers have extended resistance beyond revisionary adaptation, opting to interrogate Hollywood's genre conventions and production methods to address how globalization has affected and continues to influence their homelands.
Rezensionen / Stimmen
"Interfidelity," combining a film adaptation's faithfulness to its source text and culture with its ability to talk back to them, may sound like an oxymoron. In the hands of Jerod Ra'Del Hollyfield, however, it becomes a potent tool for examining eight Hollywood adaptations that open urgent new questions about Victorian classics, colonial discourse, and filmmaking industry practices. Anyone who writes about the politics of adaptation should read Hollyfield, and anyone who writes about adaptation in any context should come to terms with his challenge to consider adaptation as a mode of resistance. -- Professor Thomas M. Leitch, University of Delaware
Sprache
Verlagsort
Zielgruppe
Produkt-Hinweis
Fadenheftung
Gewebe-Einband
Illustrationen
20 black and white illustrations
Maße
Höhe: 236 mm
Breite: 160 mm
Dicke: 20 mm
Gewicht
ISBN-13
978-1-4744-2994-8 (9781474429948)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
JEROD RA'DEL HOLLYFIELD is an Associate Professor of Film Studies and Communication at Carson-Newman University. His work has been published in several journals and edited collections, and his short film Goodfriends has been exhibited at film festivals and was endorsed by national disability organisations. He is the creator of The Assisted Stories Project, a collection of video essays that aims to preserve and promote the narratives of the American South's elder population.
Autor*in
Associate ProfessorCarson-Newman University
ACKNOWLEDGMENTS
INTRODUCTION. Accented Slants, Hollywood Genres: An Interfidelity Approach to Adaptation Theory
CHAPTER 1. Colonial Discourse, George Stevens's Gunga Din, And the Hollywood Studio System
CHAPTER 2. "He Is Not Here by Accident": Transit, Sin, and the Model Settler in Patrick Lussier's Dracula 2000
CHAPTER 3. Those Other Victorians: Cosmopolitanism and Empire in Jane Campion's The Portrait of a Lady
CHAPTER 4. Imperial Vanities: Mira Nair, William Makepeace Thackeray, and Anglo-Indian Cultural Commodity in Vanity Fair
CHAPTER 5. Epic Multitudes: Postcolonial Genre Politics in Shekhar Kapur's The Four Feathers
CHAPTER 6. Gentlemanly Gazes: Charles Dickens, Alfonso Cuaron, and the Transnational Gulf in Great Expectations
CHAPTER 7. Indie Dickens: Oliver Twist as Global Orphan in Tim Greene's Boy Called Twist ?
CHAPTER 8. Three-Worlds Theory Chutney: Oliver Twist, Q&A, and the Curious Case of Slumdog Millionaire
CONCLUSION: Streaming Interfidelities and Post-Recession Adaptation
NOTES
BIBLIOGRAPHY
