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By Anne-Marie Scholz

Scholarly methods to the connection among literature and movie, starting from the conventional concentration upon constancy to newer problems with intertextuality, all comprise an important blind spot: an absence of theoretical and methodological consciousness to variation as an ancient and transnational phenomenon. This ebook argues for a traditionally expert method of American pop culture that reconfigures the classically outlined version phenomenon as a kind of transnational reception. targeting a number of case experiences— together with the movies Sense and Sensibility (1995) and The Portrait of a Lady (1997), and the classics The 3rd Man (1949) and The Bridge at the River Kwai (1957)—the writer demonstrates the methods tailored literary works functionality as social and cultural occasions in background and the way those turn into very important websites of cultural negotiation and struggle.

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From fidelity to history : film adaptations as cultural events in the twentieth century

Scholarly ways to the connection among literature and picture, starting from the normal concentration upon constancy to more moderen problems with intertextuality, all comprise an important blind spot: a scarcity of theoretical and methodological consciousness to variation as an ancient and transnational phenomenon.

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Courtesy: Deutsches Institut für Filmkunde, Frankfurt/Studiocanal) render it a good export article, The Third Man showed a very different city, presumably the “real” city: “meeting place and whirlpool of all the peoples of the European Southeast, today, an object of contention between the Super Powers, just like Berlin. 9 The popularity of The Third Man in Germany suggested to contemporary critics that German audiences were capable of absorbing and being edified by more “realistic” fare, fare that showed “the authentic face of the defeated … [where] no quick reconstruction ethos insinuates itself.

33 Though Der Abend was indeed a “communist” newspaper, one of several circulating in Austria at the time,34 it seems to have been critical of the film less as a result of any overt representations of Cold War politics than of the representation of the city of Vienna, which to any Austrian publication would have signified the representation of high culture. The city’s affiliation with “high culture”—its music, history, art, and stage productions—were key aspects of its national identity, a source of international prestige as well as a point of contrast to the other major German-speaking city in Europe, Berlin, which was now associated with a history of militarism and defeat.

However, others appreciated the didactic value of Welles’s internationally co-produced film, which coincided with the beginnings of the movement of the New German Cinema, a more confrontational effort to engage questions of the past through film. * * * 26 From Fidelity to History Overall, close attention to these three adaptations, understood as cultural events through the prism of reception, reveals highly charged political and ideological investments and calls attention to the ways the strategic cultural functions of adaptations change in different cultural contexts, and rendered the cross cultural aspect explicit and highly political in the case of mid-century, Cold War West Germany.

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