69 research outputs found
A Necessary Signifier: The Adaptation of Robinson's Body-Image in "The Jackie Robinson Story"
No full textThe essay singles out The Jackie Robinson Story, as an iconophiliac adaptation driven by the authorizing and authenticating presence of Robinson's body on screen, which functions as both the ‘source material’ and its ‘adaptation’. It argues that the film needs to be appreciated within a larger nexus of texts indicated as ‘The Jackie Robinson Story,’ revealing a larger process of embodiment of the integration drama grafted onto Robinson’s body-image in the years preceding and following the release of the film. Read in the context of Robinson’s presence in post World War II visual culture as emblem of the successful realization of its color blind utopias, ‘The Jackie Robinson Story’ appears to participate in the process of visual accommodation that brought the assimilationist imagination to elect Robinson’s body as the signifier of yet another adaptation process: the incarnated visuality of the integration drama itself.The version of record of this article is published as: Raengo, A. (2008). A Necessary Signifier: The Body as Author and Text in The Jackie Robinson Story. Adaptation. Journal of Literature on Screen Studies, 1(2), 79-105. DOI: 10.1093/adaptation/apn019
Copyright © 2008 Alessandra Raengo. Published by Oxford University Press. All rights reserved.
The author's post-print (post-peer-reviewed) manuscript is posted here with the permission of the author
Alessandra Raengo. Review of "Mickalene Thomas: Mentors, Muses, and Celebrities" by Spelman College Museum of Fine Art.
No full textAlessandra Raengo. Review of "Travel and See: Black Diaspora Art Practices since the 1980s" by Kobena Mercer.
No full text
On the sleeve of the visual: race as face value
No full textIn this work of critical theory, Black studies, and visual culture studies, the author reads race as a theory of the image. By placing emphasis on the surface of the visual as the repository of its meaning, race presents the most enduring ontological approach to what images are, how they feel, and what they mean. Having established her theoretical concerns, the author\u27s eclectic readings of various artifacts of visual culture, fine arts, cinema, and rhetorical tropes provoke and destabilize readers\u27 visual comfort zone, forcing them to recognize the unstated racial aspects of viewing and the foundational role of race in informing the visual. -- Back cover.
Rights Information
Creative Commons Attribution-NonCommercial License © Trustees of Dartmouth Collegehttps://digitalcommons.dartmouth.edu/dartmouth_press/1026/thumbnail.jp
Reification, Reanimation, and the Money of the Real
No full textThis essay is an exercise in a form of looking from a distance. It is prompted by the desire to explore the connection between two stunning objects, namely, Ken Jacobs’s Capitalism: Slavery (2006), a digital animation of a stereoscopic card picturing slaves at work in a cotton field, and Nick Hooker’s 2008 digital video for Grace Jones’s song Corporate Cannibal. This is not an essay directly about Ken Jacobs and even less about Grace Jones, but rather an attempt to show how, for me, these two works belong to the same set. The set I am thinking about is defined by the intersection of three (big) things: race, photography, and capital. The magnitude, but also the totalizing, all-encompassing, and elusive qualities of such large-scale formations require necessarily an analytical and theoretical gaze that beholds its objects at a distance. More precisely, these formations require a double look: one that holds the object closely and another that is distant enough to observe formations such as these that, in turn, travel the distance.This article was originally published in the journal World Picture. Copyright © 2012 World Picture.
The version of record is posted here with the permission of the publisher and author
Bloody eroticism in interview with the vampire: from literature to the audiovisual domain
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura CorrespondenteEste estudo tem o intuito de investigar como textos literários são adaptados para o cinema. Esta investigação foi feita usando-se o romance Entrevista com o Vampiro (1976) de Anne O´Brien Rice e sua adaptação fílmica (1994) dirigida por Neil Jordan. O aspecto principal do romance e do filme analisados durante a pesquisa foi o homoerotismo. Para se fazer a investigação foram usadas as passagens mais importantes do romance onde o homoerotismo é mais evidente, isto foi feito para dar apoio a hipótese de que o vampiros do sexo masculino de Rice tem atração um pelo outro, especialmente os protagonistas Louis, Lestat e Armand. Com relação ao filme, três cenas onde o homoerotismo é mais evidente foram selecionadas para mostrar como os adaptadores fazem a transposição. Ressalta-se que o conteúdo homoerótico da estória diminui drasticamente quando transposta para a tela do cinema sob a direção de Jordan. As implicações das escolhas feita pelos adaptadores são discutidas com respaldo em estudos de estudiosos de cinema. No caso de Entrevista com o Vampiro, muitos personagens do romance foram excluídos, a aparência física dos personagens principais foi mudada e muitos outros elementos foram acrescentados e subtraídos. Portanto, este estudo apresentará teorias de adaptação fílmica para tentar explicar como a transposição acontece. This study aims at investigating how literary texts are transposed to the screen. This investigation was done using the novel Interview with the Vampire (1976) by Anne O'Brien Rice and its filmic adaptation (1994) directed by Neil Jordan. The main aspect of the novel and the film analyzed during the research was the homoeroticism. In order to do the investigation the most important passages of the novel in which the homoeroticism is more evident were analyzed to support the hypothesis that Rice´s male vampires are attracted to each other, especially the protagonists Louis, Lestat and Armand. Regarding the film, three scenes from it in which the homoerotic overtones are more evident were selected to show how film adaptors perform the transposition. It must be pointed out that the homoerotic content of the story diminishes drastically when transposed to the screen under Jordan´s direction. The implications of the choices made by the adaptors are discussed under the light of film scholars. In the case of Interview with the Vampire, lots of characters from the novel were left out, the physical appearance of the main characters was changed and many other elements were subtracted and added. Thus this study will present theories of film adaptation to try to explain how the transposition takes place
Recommended from our members
The Heat is On
No full textAt one point in Kahlil Joseph’s two-screen installation BLKNWS (2018 – ongoing), African American poet June Jordan recites her “Song of the Law Abiding Citizen.” Strategicallyunderstated and delivered with deadpan irony, the poem begins by quickly accumulating momentum
- …
