
Screening Woolf
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The book's second concern is Woolf's interest in what she would call "the cinema." As a member of Bloomsbury, she saw and participated in the discussion of the cinema, especially avant-garde films, which she considered to be more the future of cinema than film adaptations, upon which she heaped great scorn for their ravenous, if not rapacious, consumption of vulnerable literary fiction such as Leo Tolstoy's Anna Karenina. Woolf specialists such as Leslie Hankins proclaim her one of the earliest and most significant British film theorists for the brilliant essay "The Cinema" (1925), as film was just beginning to establish itself as art and not merely popular entertainment.
The third concern is a complex effort to explore the David Hare/Stephen Daldry film adaptation of Michael Cunningham's Pulitzer Prize-winning novel The Hours, an homage to Mrs. Dalloway in which Virginia Woolf has a starring role, as portrayed by Oscar winner Nicole Kidman. The film and Kidman's prosthetic nose produced a violent division among the Woolfians who either commended its bringing legions of new readers to Mrs. Dalloway and potentially to "Woolf"-Mrs. Dalloway becoming the best-seller it could not have been in her lifetime-or were outraged by the film's diminishment of probably the most important female British novelist of the 20th century. Even Nobel Laureate Doris Lessing spoke out against the travesty of a novelist she considered a foremother of later 20th-century writers.
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Content
1 Virginia Woolf and/on/in Film
2 Filming Woolf's Novels: To the Lighthouse (1983)
3 Orlando: Sally Potter's Success Story
4 Mrs. Dalloway's Early Progeny: Marleen Gorris's film, Mrs. Dalloway (1997)
5 The Web of Text-uality: Michael Cunningham's Novel The Hours (1998), Its Film Adaptation by David Hare/Stephen Daldry (2002), and Robin Lippincott's Mr. Dalloway (1999)
Conclusion: Where Have All the Adaptations Gone?
Bibliography/Filmography
Index
About the Author
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