Journal articles on the topic 'Poem film'
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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (May 2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.
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A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imaginatively. As with other film poems, the student creates a series of cinematic images and connects them to the poem’s lines, activating new meanings in them. In contrast with the traditional construction of film poems, the procedure involves another stage – the student also connects the images they have created to the poem’s stylistic detail. In turn, as I show, this extra connection helps drive the film’s narrative, adding to the creativity of the film. This staged procedure is different from established (pedagogical) stylistic practice where interpretation and stylistic analysis of a poem are simultaneous, with the stylistic analysis providing support for the burgeoning interpretation. To model this student assignment, I produce a film script of Philip Larkin’s poem, ‘Wants’. The script depicts the activities of a serial killer; some readers may find the script graphic.
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O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (May 2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
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A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
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Hibatullah, Muhamad Hadi, Tanto Harthoko, and Agnes Karina Pritha Atmani. "Penciptaan Film Animasi 2D Diadaptasi Dari Puisi “Engkau”." Journal of Animation & Games Studies 3, no. 1 (June 2, 2017): 83. http://dx.doi.org/10.24821/jags.v3i1.1718.
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Abstract Literary works adapted to the film are familiar to the general public. In response to the problem, the animated film "Engkau" is made with the intention to make it easier for a poet to deliver the message of his poems in audiovisual form to the reader in an interesting and unique way through the animated film which is one of the popular media as a medium of delivery. The animated film " Engkau " is a film adapted from a poem entitled "Engkau" in a collection of poems "Aku Ingin Mencumbu Waktu" with 2D animation techniques.The poem entitled " Engkau " from the collection of poems "Aku Ingin Mencumbu Waktu " tells a feeling of someone who admires and loves someone deeply, no matter how long it can prevent and keep him from loving. The poem " Engkau " in each verse will later be adapted into a 2D animated film, making this animation different from the others. Keywords: poetry, adaptation of literary works, poetry animation, poem "engkau"Abstrak Karya sastra yang diadaptasi ke film sudah tidak asing lagi bagi masyarakat umumnya. Menyikapi masalah tersebut, film animasi “Engkau” dibuat dengan maksud untuk mempermudah seorang penyair menyampaikan pesan dari puisinya dalam bentuk audiovisual kepada pembaca secara menarik dan unik melalui film animasi yang merupakan salah satu media yang populer sebagai media penyampaian. Film animasi “Engkau” merupakan film yang diadaptasi dari puisi yang berjudul sama “Engkau” dalam kumpulan puisi “Aku Ingin Mencumbu Waktu” dengan teknik animasi 2D.Puisi yang berjudul “Engkau” dari kumpulan puisi “Aku Ingin Mencumbu Waktu” menceritakan sebuah perasaan seseorang yang mengagumi dan mencintai seseorang secara mendalam, tidak memperdulikan waktu dapat mencegah dan menghambatnya untuk tetap mencintai. Puisi “Engkau” dalam setiap baitnya nanti akan adaptasi menjadi sebuah film animasi 2D, menjadikan animasi ini berbeda dengan yang lain. Kata kunci: puisi, adaptasi karya sastra, animasi puisi, puisi “engkau”
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Chioda, Leonardo. "Este poema não existe: um caso de intermidialidade (e magia) em Herberto Helder / This Poem Does Not Exist: A Case of Intermediality (and Magic) in Herberto Helder." Revista do Centro de Estudos Portugueses 39, no. 62 (January 22, 2020): 127. http://dx.doi.org/10.17851/2359-0076.39.62.127-144.
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Resumo: O presente artigo pretende investigar as diferentes adaptações de um poema que Herberto Helder extirpou do conjunto de sua obra depois de assistir, durante sua estadia na África nos anos 60, a um curta-metragem baseado em seu texto. Ainda que a referência do poeta ao poema e à sua exclusão se restrinja à nota “(magia)”, em Photomaton & vox, o poema pode ser considerado um dos mais visuais e inquietantes de Herberto Helder, conforme é possível verificar em uma gravação em disco narrada pelo próprio poeta e por um curta-metragem mais recente disponível na internet, produzido pelo grupo O Dizedor. Partindo da premissa do próprio poeta de que “todo poema é um filme”, abordamos o poema original, publicado em 1968 no livro Apresentação do rosto, e procuramos demonstrar suas respectivas adaptações em áudio e vídeo e a outros textos de Herberto Helder afim de promover associações intermidiais, sobretudo entre a pintura e o cinema enquanto meios que permitem “ver” a poesia. Procuramos demonstrar que, mesmo sendo descartado por Herberto Helder, as várias releituras deste poema o tornam um dos mais adaptados dentre toda a sua obra.Palavras-chave: Herberto Helder; intermidialidade; cinema; magia.Abstract: This article intends to investigate the different adaptations of a Herberto Helder´s poem that he subtracted from his whole work after watching, during his stay in Africa in the Sixties, a short film based on his text. Although the poet’s reference to the poem and to its exclusion is restricted to the note “(magic)” on Photomaton & vox, the poem can be considered one of Herberto Helder’s most visual and unsettling texts, as can be verified through a disc recording which is narrated by the poet himself, as well as in a recent short film available on internet, produced by the group O Dizedor. Departing from the poet’s premise that “every poem is a movie”, we approach to the original poem, published in 1968 in the book Apresentação do rosto, and try and demonstrate their respective adaptations in audio and video as well as to other Herberto Helder´s texts in order to promote intermedial associations, especially between painting and cinema as ways to “see” the poetry. We try and demonstrate that, despite of being subtracted by Herberto Helder, the several rereading of this poem make it one of the most adapted among his whole work.Keywords: Herberto Helder; intermediality; cinema; magic.
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Caradonna, Chiara. "Mandel’štam. Rom. Pasolini." Volume 62 · 2021 62, no. 1 (October 1, 2021): 291–320. http://dx.doi.org/10.3790/ljb.62.1.291.
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Mandel’štam. Rome. Pasolini In 1972 a small volume presented for the first time a varied choice of poems by the Russian poet Osip Mandel’štam to the Italian public, translated by Serena Vitale. One of the book’s first and most enthusiastic readers was the poet, film director and intellectual Pier Paolo Pasolini, who immediately reviewed it for the Italian newspaper Il Tempo. This review shows the great significance that Mandel’štam’s poetry acquired for Pasolini in the very last years of his life. So much so, that the first verse of Mandel’štam’s late poem, With the world of the powerful …, became the motto of Pasolini’s last, unfinished novel Petrolio. While offering a reading of this poem by Mandel’štam, the present article investigates the reasons for Pasolini’s passionate interest in the Russian poet, and sheds light on the political dimension of both Mandel’štam’s and Pasolini’s œuvre.
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Arcana, Judith. "Poem as Notes for a Film Script." Affilia 18, no. 2 (May 1, 2003): 229–33. http://dx.doi.org/10.1177/0886109903251423.
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Zvereva, T. V. "Day Stars and Pervorossiisk by Olga Berggolts in the Light of Poetic Cinematograph." Critique and Semiotics 39, no. 1 (2021): 403–22. http://dx.doi.org/10.25205/2307-1737-2021-1-403-422.
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The paper considers the book Day Stars and the narrative poem Pervorossiisk by Olga Berggolts from an interdisciplinary perspective. The works were screened by Igor Talankin and Evgenii Shiffers. According to the author of the research, it is these films that define meaning-making mechanisms of Berggolts’s creative activity. A night dream mode of film narration is determinant for I. Talankin’s Day Stars; the search for the form, which is able to communicate the book structure as well as a whimsical game of human memory, comes to the fore. The film making became a testing site for Evgenii Shiffers where his religious and philosophical ideas were performed. The film Pervorossiyane is not just setting an event line in terms of visual patterns but the narrative poem reproduced via a film and thought solely in a religious and drama mystery light.
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Marudut Bernadtua Simanjuntak and Vanessa Meuti. "The Moral Value of The Film “Bumi Manusia”." Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora 2, no. 1 (March 29, 2022): 100–107. http://dx.doi.org/10.55606/khatulistiwa.v2i1.640.
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The film Bumi Manusia is a film derived from a novel by a writer who has a lot of history in Indonesia as well as literati, namely Pramoedya Ananta Toer or often called Pram. In making this novel, he tells the story of the Dutch East Indies colonialism that existed in Indonesia during the colonial period at that time. Various conflicts during the period of colonialism appeared with stories neatly wrapped by Pram. The creation of narratives in this novel is very much related to the problem of romance, humanity, instead of ideology that is contrary to Pancasila. Pramoedya Ananta Toer or known as Pram has many great historical works. In addition to making novels, Pramoedya Ananta Toer is also a poet. One poem that is familiar to the ear is Gerak Juang. This poem is also made in the novel Bumi Manusia. In addition, there is also a poem that he made entitled Selembut Metafora Hati. The purpose of making this paper is to analyze the moral values contained in the film Bumi Manusia. This film has the value of the spirit of the struggle of indigenous figures against and fights for the position of the Indonesian people against Dutch discrimination during the Dutch colonial period at that time. At that time Minke was a native who attended HBS, a school that only accepted European descent. However, Minke was able to go to school there because he was the son of a celebrity, clever and good at writing. This film was released before Indonesia's independence day so that the audience remembers and reflects on the indigenous struggles in the colonial era. The study was written using qualitative methods that show moral values in the film. This research is expected to increase knowledge and insights about freedom fighter figures. Researchers expect good results from readers through this study.
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Harty, Kevin J. "Notes Towards a Close Reading of David Lowery’s 2021 Film The Green Knight ." Journal of the International Arthurian Society 10, no. 1 (September 1, 2022): 29–51. http://dx.doi.org/10.1515/jias-2022-0004.
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Abstract This essay offers a close reading of David Lowery’s 2021 film The Green Knight suggesting that the director has consciously subverted the text of his source to produce an always intriguing film whose debts to the medieval are many. Unlike previous directors whose ‘Gawain’ films failed even to engage with their medieval source, Lowery follows details in his source when it suits his purpose, but, more often than not, he adds scenes to, or deletes scenes from, the fourteenth-century Middle English poem. His additions are especially noteworthy in how they offer an alternate, perhaps even a queer, reading of the poem. Lowery’s goal seems to be to retell a basically linear tale in a more convoluted and circular manner thereby calling into question viewers’ thematic and narrative expectations. At the same time, Lowery’s film can be read as an antidote to the toxic masculinity found in so many other Arthurian texts across multiple genres.
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Koh, Joo Hwan, Jung Tae Park, Dong Kyu Roh, Jin Ah Seo, and Jong Hak Kim. "Synthesis of TiO2 nanoparticles using amphiphilic POEM-b-PS-b-POEM triblock copolymer template film." Colloids and Surfaces A: Physicochemical and Engineering Aspects 329, no. 1-2 (October 2008): 51–57. http://dx.doi.org/10.1016/j.colsurfa.2008.06.055.
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Han, Lili. "Meaning-Making in the Untranslatability: A Translanguaging Analysis of the Film Love After Love." Theory and Practice in Language Studies 12, no. 9 (September 1, 2022): 1783–89. http://dx.doi.org/10.17507/tpls.1209.10.
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Films have been held for a long-term tradition as a meaning-making practice in visual and audio play, in the hybridization of language, image and sound, as well as in interactive symphonization with the audience/viewers. Through the emerging theoretical lens of translanguaging, this article analyzes the translingual practices, performance, instances in a Chinese film entitled Love After Love (adapted from Eileen Chang’s short story and directed by the Hong Kong Director Anne Hui), in which a Portuguese sonnet lyrical poem (Rimas) is delicately crafted in the film and projected in the trailer. Through this analysis, we aim to examine how translanguaging aesthetics transcend language boundaries, transforming from the seeming untranslatability to communicative meaning-making practice. The film presents a situated and embodied poem recital scene that encompasses untranslatable moments of imagination, thus transcending the Mandarin-English-Portuguese divide. The encounter and intertwining of heterogeneous languages and registers create a transformative space replete with tensions between reality and imagination, between lucidity and ambiguity, between resistance and compliance, interrogating the underlying discourses beyond languages and rendering the untranslatability meaningful. This translanguaging-informed film review thus offers an insightful autopsy of the literary aesthetics of the novel by Eileen Chang.
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Sadowski, Jakub. "Filmowy Poemat pedagogiczny: między Makarenką a wymogami kultury totalitarnej." Problemy Wczesnej Edukacji 39, no. 4 (September 28, 2017): 114–21. http://dx.doi.org/10.26881/pwe.2017.39.11.
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Anton Makarenko’s novel The Pedagogical Poem had been published in 1934–1935; after 20 years it was finally filmed (The Pedagogical Poem by Alexei Maslukov and Mechislava Mayevskaya, 1955). This article is an analysis of a specific relationship between Makarenko’s text and the cinematic variant of the “Poem”. The nature of transformation of literary text into film text is complex. It requires not only the adaptation of the novel to the linguistic requirements of the movie. The typological distinctions between the language of literary and cinematic Poems concern not only two spheres of the functioning of these works, but also two types of culture in which they were brought to life. The literary Pedagogical Poem was created as an autonomous work against totalitarian discourse, however it still participates in it. The key to its reading (which is specific for totalitarian culture) analyzed in this text results from the main function of narratives of this culture, i.e. the transmission of units of its mythological universe.
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Osborne, Katie. "Nursing the Nation poem is made into a film." Nursing Standard 29, no. 16 (December 22, 2014): 0. http://dx.doi.org/10.7748/ns.29.16.0.2916988.
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Shull, Ellen M. "The Reader, the Text, the Poem--And the Film." English Journal 78, no. 8 (December 1989): 53. http://dx.doi.org/10.2307/819486.
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Kistler, Jordan. "A POEM WITHOUT AN AUTHOR." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 875–86. http://dx.doi.org/10.1017/s1060150316000255.
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These lines begin an “Ode” which has permeated culture throughout the last hundred years. In 1912, Edward Elgar set it to music, as did Hungarian composer Zoltán Kodály in 1964, to commemorate the 700th anniversary of Merton College, Oxford. In 1971, Gene Wilder spoke the opening lines as Willy Wonka in the film Willy Wonka & the Chocolate Factory. The words appear as epigraphs in an eclectic range of novels, including science fiction (Raymond E. Feist's Rage of a Demon King), fantasy (Elizabeth Haydon's The Assassin King), and historical fiction (E. V. Thompson's The Music Makers). They are quoted in an even more varied selection of books, including travelogues (Warren Rovetch's The Creaky Traveler in Ireland), textbooks (Arnold O. Allen's Probability, Statistics and Queueing Theory and R. S. Vassan and Sudha Seshadri's Textbook of Medicine), New Age self-help books (Raven Kaldera's Moon Phase Astrology: The Lunar Key to Your Destiny), autobiographies (Hilary Liftin's Candy and Me, a Love Story) and pedagogical guides (Lindsay Peer and Gavin Reid's Dyslexia – Successful Inclusion in the Secondary School).
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Volpe, Míriam L. "A imagem como ruína: de uma totalidade irrecuperável." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 262–69. http://dx.doi.org/10.17851/2317-2096.8..262-269.
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Resumo: O dialogismo entre o filme Citizen Kane, de Orson Welles, e o poema “Kubla Khan”, de S. T. Coleridge, é analisado, sendo evidenciados não só o tema em comum – o mito do Paraíso perdido – como também a similaridade na organização do discurso na justaposição das imagens, como fragmentos da memória a serem preservados.Palavras-chave: literatura; cinema; montagem; intertexto; museu.Abstract: The intertext between the film Citizen Kane, by Orson Welles, and the poem “Kubla Khan”, by S. T. Coleridge, is analised. A common theme, the myth of lost Paradise, and similar strategies in the organization of discourse, the manipulation of images as juxtaposed fragments from reservoirs of memories, are shown.Keywords: literature; cinema; montage; intertext; museum.
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Higley, Sarah L. "David Lowery’s "The Green Knight": An Ecocinematic Dialogue between Film and Poem." Medieval Ecocriticisms 2 (2022): 53–88. http://dx.doi.org/10.32773/ykvn8089.
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A “faithful” film adaptation of Sir Gawain and the Green Knight has long been awaited. The romance lends itself well, it seems, to cinema in its vivid staging, psychology, and suspense. David Lowery’s The Green Knight (2019) reflects its visual splendor but dismantles its plot, the relationship of its characters, re-signifies its significant objects—ax, shield, and girdle. It forefronts contemporary anxieties about film revision of a medieval poem and invites us to examine our technical engagement with and representation, then and now, of the natural world. By suggesting that Gawain might die by the Knight's third blow, Lowery challenges the human exceptionalism inherent in all fantasies of the hero’s journey through a forest (the point of which is to get through it alive). Rather, Gawain remains with the Knight in a state of ambiguity, and either engraves or becomes the stump shown at the end, which bears his new name. This essay puts both poem and film in dialogue with each other to show how Lowery's ecocinematic film "re-greens" a text already given much ecocritical examination.
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Berendeeva, M. S., and M. I. Rybalova. "“My Sight, My Strength, Dims...ˮ by Arseny Tarkovsky in the Feature Film “Nostalghiaˮ: The Ways of Poetical Quotation Embedding in the Cinematic Text." Philology 17, no. 9 (2018): 90–104. http://dx.doi.org/10.25205/1818-7919-2018-17-9-90-104.
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The article reveals the ways of poetical quotation embedding in the cinematic text using the example of the poem My sight, my strength, dims... by Arseny Tarkovsky in the feature film Nostalghia by Andrei Tarkovsky. The scene from Nostalghia which includes the poem My sight, my strength, dims... is analyzed from the points of view of the main factors of transformation of a poetic text when it is cited. These factors include: the place of the quotation in the structure of the cinematic text, mechanical transformations of the text, background information, the way of the quotation embedding, visual and sound accompaniment. The analysis shows that the episode when the poem is read is one the key scenes in the film. It reveals different characteristics of the concept of FATHER in the individual worldview of the film director. The main transformation of the text boils down to its translation into Italian. The quotation is embedded into the text via audio channel. As a result of the study we arrive to the following conclusions: 1) Poetic quotations in the film Nostalghia create numerous variants of the image of father interpretation. 2) The translated Italian text Si oscura la vista. La mia forza… preserves the main idea of the poem My sight, my strength, dims... and emphasizes the motives of the lost house and dying. 3) The embedding of the poem mentioned above into the cinematic text of Nostalghia is not plot-driven, unlike the integration of the text As a child I once fell ill. 4) The poetic texts As a child I once fell ill and My sight, my strength, dims... by Arseny Tarkovsky are united in the cinematic text of Nostalghia to create a binary system making the transition from the empirical level of the text to the sacred one.
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Birlik, Nurten. "Lacanian Implications of Departures in Zemeckis’s Beowulf from Beowulf, the Old English Epic." Text Matters: A Journal of Literature, Theory and Culture, no. 11 (November 22, 2021): 178–85. http://dx.doi.org/10.18778/2083-2931.11.12.
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Although Robert Zemeckis’s film Beowulf (2007) is a re-writing of the Old English epic Beowulf with a shifting of perspective, certain details in the film can only be understood by referring to the poem. That is, a better understanding of the film is tied closely to an awareness of certain narrative elements in the epic. The emphasis on Beowulf in the poem shifts to the Mother in the film. This shift obviously leads to a recontextualization of the narrative elements of the former text. In the epic, Grendel is left without a father; however, in the film, he is fathered by Hrothgar but this biological fathering does not lead to linguistic castration. In their case, things are reversed: rather than the infant being castrated by the Law/language, the biological father is led to a psychic regression due to the son. This appears to be a dramatization of the conflicts between the (m)Other and the shared Other/the representative of the paternal metaphor: that is, Hrothgar. This time, the (m)Other conquers the representative of the paternal metaphor and annuls his masculinity, which radically changes the way in which we evaluate the course of events in the film. These departures make more sense if they are analyzed against the background of Lacanian epistemology. This paper aims to explore the film’s departures from the poem by approaching it from a Lacanian perspective.
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Munko, Daria. "«EVERYDAY LIFE» IN THE WORKS BY W. C. WILLIAMS AND J. JARMUSCH: FROM POETRY TO POETICS. INTERMEDIALITY." CONTEMPORARY LITERARY STUDIES, no. 18 (December 13, 2021): 94–100. http://dx.doi.org/10.32589/2411-3883.18.2021.246980.
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The article examines William Carlos Williams’ works that focus on the everyday, mundanity, and poetize daily life which was common in modernist literature. In our time, Williams’ poetry inspired director Jim Jarmusch to make a poetic film «Paterson» about everyday life and the poetic potential of ordinary routine life. The director reinterprets Williams’ ideas and makes a complex, postmodern film about everyday life in the small town Paterson, where he depicts the routine life of his main character, a bus driver. This life, despite its external simplicity and triviality, encourages the hero named Paterson to read modernist literature and write his own poems whose themes and images are intertwined with the work of the well-known Paterson resident, William Carlos Williams himself. In particular, we examine the intermedial interaction of Williams’ works («Paterson» and «This Is Just To Say») with the film and the indirect transition of one sign system into another. In addition to the more or less direct and explicit influence of literature on film through allusions or quotations from the work of the American modernist poet, Williams’ poetry becomes a precedent for the stylized poems of the film’s main character, written by a contemporary American poet Ron Padgett («Another One», «The Run», «Love Poem») and Jarmusch himself («Water Falls»). In this article, we also compare Padgett’s and Jarmusch’s poetry with some of Williams’ poems («Blizzard», «To A Poor Old Woman»), to demonstrate the similarity of motifs and imagery. Thedirector’s work can be interpreted as a manifestation of the idea of looking for poetry in the everyday, or that everyday life is already poetry. Jarmusch’s film about everyday life provides a possible answer to the question of literary anthropology «why is literature as a medium important in people’s lives» – creativity is the very meaning of life. This penetration of one art form (poetry) into another (cinema) gives grounds for speaking about the relevance of the themes of modernist poetry in the context of modernity and about the meaning and value of simplicity for creativity in general.
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Wang, Aiqing. "Mulan Meeting Her Waterloo in Homeland: Analysing the 2020 Film from a Cultural Perspective." Lingual: Journal of Language and Culture 13, no. 1 (May 17, 2022): 3. http://dx.doi.org/10.24843/ljlc.2022.v13.i01.p01.
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On 4 September 2020, Disney released a remake of its 1998 hit animation, yet the film Mulan fails to replicate its success in the Chinese market this time, as reflected by its box office and online review. It is unexpected for Mulan to meet her waterloo is her homeland, as the patriotic legend involving cross-dressing has been entrancing and intriguing generations of Chinese people from both ends of the social spectrum via a range of media. Among divergent versions of Mulan narration, the Poem of Mulan composed circa the 5th century is the earliest and most established one, and since it has been in the school textbook for decades, the majority of Chinese people’s construal of Mulan is impinged upon by this work. The film Mulan, however, exhibits disparate core values from the Poem of Mulan: the former features filial piety and loyalty, whereas the latter feminism and being true. Furthermore, the film depicts Mulan as a quasi-witch woman with mighty qi that cannot by wielded by females, discrepant from the poem that is void of supernatural demonstrations and interventions, impinged upon by Confucian agnosticism and atheism. Additionally, the film demonstrates historical and cultural details that appear to be counterfactual to Chinese audiences, which is regarded as ignorance and disrespect of Chinese culture.
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Derbentseva, L. V. "Poet of light tonality (study of A.T. Tvardovsky’s poem “The House by the Road” in high school)." Literature at School, no. 4, 2020 (2020): 92–105. http://dx.doi.org/10.31862/0130-3414-2020-4-92-105.
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The purpose of the article is to present the experience of studying A.T. Tvardovsky’s oeuvre in the 11th grade on the example of introductory classes and the poem “House by the road”. The author focuses on the anniversary date (the 110th anniversary of the poet’s birth), the peculiarities of students’ perception of poetry, and the overview of modern methodological and literary approaches to the study of the poet’s work in different classes. On the example of the tasks of the introductory lesson, the lesson opportunities are shown (comparison of early and late works, comparison with the folklore texts, identification of a variety of forms of lyrical works at different stages of the poet’s creative work). Based on literary approaches to the poem by A.T. Tvardovsky, the methodological concept of the proposed variant of lesson planning is defined. The article presents in detail the compositional (due to the genre originality of the poem) and contextual (interpretation of the poem in other forms of art) analyses at different stages of the study of the poem. In addition, the article outlines other directions of studying the poem, which can be considered as separate independent options for studying a work of art at a literature lesson. In conclusion, the article presents the results of acquaintance with the interpretation of the poem by A.T. Tvardovsky (film-ballet by A. Belinsky) and variants of tasks for 11-grade students to compare them, as well as the analysis of tasks fulfillment. Based on the approach to the study of A.T. Tvardovsky’s oeuvre, proposed in the article, the principles and techniques of the classical methodology are updated, which, in our opinion, greatly contributes to the development of the philological and general culture of students.
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Braz, Beatriz D'Angelo, and Dennys Silva-Reis. "Do verso poético à tomada fílmica: a cinematização de Cahier d’un retour au pays natal de Aimé Césaire / From the Poetic Verse to the Filmic Take: The Cinematization of Aimé Cesaire’s Cahier d’un Retour au Pays Natal." Caligrama: Revista de Estudos Românicos 25, no. 3 (December 18, 2020): 253. http://dx.doi.org/10.17851/2238-3824.25.3.253-275.
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Resumo: Este artigo visa a fazer uma análise exploratória sobre a adaptação de Cahier d’un retour au pays natal (1939), texto de Aimée Césaire (1913-2008), para sua versão audiovisual homônima (2008) realizada por Philippe Bérenger (1960-). Para isso, primeiro, faz-se uma reflexão sobre os elos entre literatura e cinema e, depois, uma análise em cotejo das duas obras. Exploram-se os vínculos com os movimentos da Negritude e do Surrealismo, e com a pouca percorrida trilha das adaptações fílmicas de poemas. Em suma, esta é uma contribuição para os estudos literários do cinema e para os estudos de literatura de expressão francesa negra no Brasil.Palavras-chave: Aimé Césaire, Philippe Bérenger, negritude, poema, filme.Abstract: This article aims at carrying out an exploratory analysis of the adaptation of Cahier d’un retour au pays natal (1939), text written by Aimée Césaire (1913-2008), into the homonymous feature film (2008) directed by Philippe Bérenger (1960-). In order to do so, it first addresses the links between literature and cinema, and then analyses and compares the two pieces. We have also explored the connection to both the Negritude and Surrealistic movements, as well as the lack of film adaptations of poems. Therefore, this is a contribution to literary studies of cinema and to studies of francophone African diaspora literature in Brazil.Keywords: Aimé Césaire, Philippe Bérenger, negritude, poem, film.
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Kozłowski, Krzysztof. "Wiersz o jesieni. O Frantzu François Ozona." Przestrzenie Teorii, no. 32 (March 15, 2019): 77–92. http://dx.doi.org/10.14746/pt.2019.32.3.
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Kozłowski Krzysztof, Wiersz o jesieni. O Frantzu François Ozona [A Poem on Autumn. Frantz by François Ozon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 77–92. ISSN 1644-6763. DOI 10.14746/pt.2019.32.3.
The film Broken Lullaby ([1932] Ernst Lubitsch) and the novel L’Homme que j’ai tué ([1921, 1925, 1930] Maurice Rostand) are seen to be the main inspirations for Frantz (2016) by François Ozon. On the basis of methodology broadly understood as the concept of bringing into relief (Domański, 1992, 2002), this article aims to demonstrate the means by which the French director expanded upon the literary-film material, imbuing it with a totally singular meaning. Ozon’s inventiveness did notlimit itself to transformations typical for adaptations, but ventured towards feature film understood as a synthetic work of art that by exploiting the audiovisual properties of the medium itself, acts as a unifying force of poetry (Verlaine, Banville), music (Chopin, Debussy) and painting (Manet). The famous poem recited by the heroine, Ann, Chanson d’automne (Paul Verlaine), serves as the analytical starting point for the above. It is thus used as a pivot for the entire film, a veritable lodestarfor guiding motifs, allowing important aspects of the film to be highlighted and consequently, bring its main theme to the fore.
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Grecca, Gabriela Bruschini, and Marisa Corrêa Silva. "Uma releitura de "The Waste Land" sob o viés do Materialismo Lacaniano." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 53–70. http://dx.doi.org/10.5007/2175-8026.2019v72n1p53.
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This article aims to reflect on some aspects of the poem The Waste Land (1922), by T.S. Eliot, rethinking the poem's movement of equating modernity with a phantasmagoric and unreal dimension, from which it would be possible to escape by reaching an incorruptible sphere of being. However, it is necessary to inquire which tensions are present in the imaginary representations of the poem that conflict with the latent desire of transcendence, making this desire, in the course of the poem, lead, in the words of Slavoj Žižek (2013, p.26), to a sensation of “metaphysical malaise”, and not to a redemptive perspective. Thus, the Lacanian Materialism via Žižek, a Slovenian philosopher who writes in the scope of Political Theory, Film Criticism, Psychoanalysis and Cultural Studies, becomes essential for the possibility of detecting a deeper movement in the dynamics of the poem.
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Bjork, Robert E. "The reception history of Beowulf." SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 25, no. 1 (September 29, 2020): 1–19. http://dx.doi.org/10.17811/selim.25.2020.1-19.
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This paper traces both the scholarly and popular reception of the Old English epic Beowulf from the publication of the first edition of the poem in 1815 to the most recent English novel based on it from 2019. Once the work was first made available to the scholarly community, numerous editions in various languages began to appear, the most recent being in English from 2008; once editions were published, Old English scholars around the world could translate the text into their native languages beginning with Danish in 1820. Translations, in their turn, made the poem available to a general audience, which responded to the poem through an array of media: music, art, poetry, prose fiction, plays, film, television, video games, comic books, and graphic novels. The enduring, widespread appeal of the poem remains great and universal.
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Bryer, Theo, Morlette Lindsay, and Rebecca Wilson. "A Take on a Gothic Poem: Tablet Film-making and Literary Texts." Changing English 21, no. 3 (July 3, 2014): 235–51. http://dx.doi.org/10.1080/1358684x.2014.929284.
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Suárez, Nicolás. "Movimiento y proyección en el matadero del cine argentino: Martín Fierro (1923) de Alfredo Quesada." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 295–320. http://dx.doi.org/10.5195/ct/2017.273.
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In 1923, after producing the adaptation of his brother Josué’s best-selling novel La vendedora de Harrods (1919), Alfredo Quesada made his directorial debut with the film Martín Fierro. It was based on the poem by José Hernández (1872 and 1879), which had been canonized shortly before. Although the film is now lost, this essay aims to examine its reception through different publications of the time and to place it within the framework of a film field that in the beginning of the 1920’s was already autonomously constituted. In particular, this work focuses on the interdependence of two fundamental demands of the field: the requests for movement and projection, defined according to Gilles Deleuze and Jean-Michel Frodon, respectively. Considering this link, the goal is to understand the reasons why Quesada’s movie was considered a failure and to infer the conditions that could determine the fate of Argentine films both locally and in the global market of culture.
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Aires Franceschini, Marcele. "Idyllic Self in Africa (2000), by Ken Taylor and in Boy (2010), by Taika Waititi: a literary-cinematographic dialogue." Acta Scientiarum. Language and Culture 41, no. 2 (October 1, 2019): e45306. http://dx.doi.org/10.4025/actascilangcult.v41i2.45306.
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The idyllic approach of this article deals with the dialogue between two distinct artworks: poems from the book Africa (Taylor, 2000), emphasizing the poem ‘Waikiki’, by the Australian poet, journalist and filmmaker Ken Taylor; and the movie Boy (Curtis, Gardiner, & Michael, 2010), directed by the New Zealander film-director, actor and writer Taika Waititi. The poems and the movie are connected by synesthetic perceptions, mostly related to painting, colorizing and shaping that are displayed in the described scenarios. Hereby, these aspects were theoretically reviewed by the following authors: Rimbaud (1966), Kandinsky (1977), Ostrower (1977), Bachelard (1986, 2011), Cytowic (1993), Berger (2008), Lambert (2010), among others. The method of analysis includes the concepts in which the art producers uncovers the relationship between nature and the self, considering the fact that beyond poet and director, respectively Taylor and Waititi are also painters. Nature is widely open before their meditative eyes, therefore rather than outreaching the natural world with motionless expectations; both portray idyllic wonders related to individual/cultural scopes. As a result, from its amorphous state, words transmute themselves into landscapes, sensations, and forms. The aim was to follow the paths that image evocates in the description of each author, since they share contemplativeness, surrounded by consciousness, perceptions and freedom, all demanded during the creative process.
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Lukácsy, György. "The Style and the Man Himself : Marcell Jankovics’ Lifework in the Postmodern Age." Uránia 1, no. 1 (2021): 44–57. http://dx.doi.org/10.56044/ua.2021.1.3.eng.
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Marcell Jankovics (1941-2021) was a director of animation films, cultural historian, educator, and culture politician, an outstanding figure of Hungarian animation who won the Golden Palm Award for the best short film with his 1977 work Fighters. Towards the end of his life he often voiced the opinion that in spite of his rich life’s work he had no creative drawing style of his own. The ageing artist’s lament poses the question as to how the work of an artist who disdained post-modernism may contain post-modernist features. This is the question that we intend to examine by scrutinising the series of animation films János Vitéz, based on a narrative poem by Sándor Petőfi, the Tragedy of Man, adapted from Imre Madách’s mankind-poem, and Toldi, based on the epic trilogy by János Arany, as well as the book illustrations. Although the works of Marcell Jankovics are described as post-modernist from a iconographic perspective, his films, and his cultural history works, always point towards a single common (mythical, religious, ritual) logos. Thus, the oeuvre of Marcell Jankovics may be regarded as ‘post-modernist’ only in the sense that he is also characterised by a flair for classicising, that is, he also created a particular canon by way of invoking.
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Mir-Bagirzade, Farida. "ORIENTAL SYMBOLISM OF THE BALLET “SEVEN BEAUTIES” BASED ON THE POEM BY NIZAMI GANJAVI." Historical Search 1, no. 4 (December 25, 2020): 197–201. http://dx.doi.org/10.47026/2712-9454-2020-1-4-197-201.
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The author explores creative interpretations of the work “Seven Beauties” written by a humanist poet Nizami Ganjavi (7th century) from the “Hamse” cycle. The poet was a genuine erudite, connoisseur of not only Koranic texts, history, ancient and Muslim philosophy, but astronomy as well. This article is an attempt to trace the oriental symbolism in the images of Ganjavi in one of the creative interpretations of the poem “Seven Beauties” through the prism of choreographic and scenographic art. The method of research is a semiological analysis, the object of study is the ballet “Seven Beauties”, combining the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of Azerbaijani composer Kara Karayev. The composer K. Karayev actively used authentic musical traditions of Azerbaijan (musical harmonies, Ashug melodics and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet “Seven Beauties” (1982, directed by Felix Slidovker) and the new production of the Theater of Opera and Ballet named after M.F. Akhundov (2011), the author traces the transformation of the libretto and offers his own rendition of symbolism in the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been a part of a thinking person. Eastern poets chanted this search, this long and difficult road to the truth, the ideal world. Court intrigues, the luxury of the palace and the daily life of the common people, nobility, guile and love intertwined in this metaphorical Eastern parable, which formed the basis for several interpretations of the ballet “Seven Beauties”. Despite the great degree of conventionality inherent in this genre of stage art, the film ballet is characterized by dramaturgical diversity, organic entwinement of developing storylines, dynamic interrelation of social and lyrical-psychological conflicts. The transformation of the libretto to the ballet “Seven Beauties” testifies to a new, deeper reading, its coming closer to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, to eternal search for the truth, love and justice sung by the poet with oriental imagery characteristic for him.
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Zhitenev, A. A. "About One Cinema Ekphrasis of Sh. Abdullaev." Nauchnyi dialog, no. 12 (December 28, 2021): 241–55. http://dx.doi.org/10.24224/2227-1295-2021-12-241-255.
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The results of the study of the genre form of ekphrasis in the context of the “visual turn” in the 1990—2000s are presented in the article. A particular case — Shamshad Abdullaev’s poem “Two Films”, which combines the impressions of two films by Spanish director Jose Luis Guerin “En la ciudad de Sylvia” (2007) and “Tren de sombras” (1997) are examined in the article. It has been established that this text is both a narrative about reception and an experience of “poetological” utterance, in which the poet speaks about his understanding of the essence of art, the nature of the creative act, connections between poetry and visual imagery. This is a “complex ekphrasis”, involving the alignment of motives and plots of different works in a single semantic series. Ekphrastic description includes both the reproduction of plot-significant scenes and the peculiarities of the film language. It is proved that the reception of cinema is mediated by other artistic codes (photography, literature), complicated by reflection on the language of philosophy and aesthetics (“mono no aware”, “nunc stans”). The semiotics of the visual, therefore, arises at the intersection of different cultural codes and contexts.
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Wall-Romana, Christophe. "Mallarmé's Cinepoetics: The Poem Uncoiled by the Cinématographe, 1893–98." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 128–47. http://dx.doi.org/10.1632/003081205x36903.
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Between 1893 and his death in 1898, Stéphane Mallarmé experimented with a poetics permeated by the emerging technology of cinema. Close to technicians and journalists of early film, Mallarmé developed what might be called a cinepoetics, especially in Un coup de dés (1897)—the ur-modernist visual poem whose preface recoups the single declaration he made on cinema—and in the unrealized project known as Le Livre (1893–98), a poetic performance involving electrical lighting and image projection. Close readings make explicit Mallarmé's cinepoetic aesthetics. Its epistemology of déroulement ‘unfolding’ is compared with that of other 1890s figures: Étienne-Jules Marey, Henri Bergson, and Loïe Fuller. Cinepoetry has not been recognized as the distinct practice it was, although Walter Benjamin and Jacques Derrida came close to theorizing Mallarmé's interest in cinema. Cinepoetic experimentation has shadowed the whole French vanguard. The study of its genealogy should reshape our understanding of the intersection of modernist lyricism and new media.
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Cullhed, Sigrid Schottenius. "IN BED WITH VIRGIL: AUSONIUS’WEDDING CENTOAND ITS RECEPTION." Greece and Rome 63, no. 2 (September 16, 2016): 237–50. http://dx.doi.org/10.1017/s0017383516000115.
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Judging from its history of effect, theWedding Centoproduced by the fourth-century poet Ausonius is in fact not a poem about a wedding at all. It is a work about the ethics of textual recycling; about the impact of political power and patronage on literary production; about smut, or rather about where the responsibility lies when a reader sees smut when none was intended. It is also a poem about sexual violence, but this aspect of the text has been largely missing in its scholarly reception. Such an absence is perhaps to be expected. Sexual assault is a notoriously under-reported offence, and its invisibility tends to extend into the realm of artistic representation and its scholarly treatment. During the last couple of decades, for instance, film scholars have addressed the need to re-read cinematic portrayals of rape in order to unearth it from ‘metaphor and euphemism, naturalized plot device and logical consequence…restoring rape to the literal, to the body: restoring that is, the violence – the physical, sexual violation’. This issue must be addressed here, but first a few words about theCentoand the most prominent trends in its reception.
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Kisielewska, Alicja. "Filmowy „Pan Tadeusz” – polskie kino narodowe?" Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 30, no. 1 (2018): 175–84. http://dx.doi.org/10.15290/idea.2018.30.1.13.
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The subject of this article is an ideological aspect of Pan Tadeusz, directed by Ryszard Ordyński (based on a script by Andrzej Strug and Ferdynand Goetel) as a film adaptation of Adam Mickiewicz’s poem. Picture was realised in 1928 to celebrate the tenth anniversary of regaining of national independence by Poland. Main goal of this article is to reflect in what ways filmmakers of Pan Tadeusz tried to implement a project of Polish national cinema. I also want to present how this film expressed social needs, programme specifications of political power camp and how it explored national values in the cinema.
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Malkina, Viktoria Ya. "VISUAL ASPECTS OF THE CHRONOTOPE: "THE ISLAND OF ISRAEL" AND "THE ROAD TO ISRAEL" BY A. GORODNITSKY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 82–91. http://dx.doi.org/10.28995/2686-7249-2020-9-82-91.
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The paper analyzes two works by A. Gorodnitsky – the poem “The Island of Israel” (1993) and the song “The Road to Israel” (2007), from the point of view of spatial and temporal organization, as well as visual imagery, with the help of which the artistic world of works is depicted. Thus, the main purpose of the article is to analyze the visual features of the Israel chronotope in the two designated works. For this, firstly, the space, time and visual imagery in the poem and in the song are analyzed in detail. Then observations and conclusions are systematized and compared with the audiovisual representation of these works in the film by A. Gorodnitsky and N. Kasperovich “Atlantes hold the sky” (episode 14). As a result, conclusions are drawn about the peculiarities of the visual organization of the chronotope of Israel in these poems by A. Gorodnitsky, based on the concept of the chronotope of M.M. Bakhtin. The visual chronotope is primarily made of space through which time is also visible, and therefore the chronotope as a whole. Other features of the chronotope are associated with the cyclical organization of time, the combination of the past and the future, as well as the real and imaginary world of the lyric subject.
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Cavitch, Max. "Specters of Translation: Jacques Derrida, Safaa Fathy, and Nom à la mer." Oxford Literary Review 43, no. 2 (December 2021): 209–48. http://dx.doi.org/10.3366/olr.2021.0362.
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This essay explores the film collaborations of Franco-Egyptian filmmaker Safaa Fathy and Franco-Maghrebian philosopher Jacques Derrida, offering an extended reading of their court-métrage, Nom à la mer (2004)—a film about language, exile, and loss, made by a pair of wanderers both keenly interested in the spectral effects of translation as they haunt the filmic medium. Nom à la mer is a cinematic rendering of the French translation of Fathy's original, Arabic-language poem, recited by Derrida in voice-off as Fathy's camera focuses on a single, highly overdetermined site in a small Andalusian town. This essay reads the film as both an artefact of the pathos of translation and as a scene of valediction, played out by both collaborators on grounds simultaneously intimate and historical.
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Amaral, Erika. "“Meu canto de morte, guerreiros, ouvi”: intermidialidade e tensões do colonialismo em Amélia (2000)." Aniki : Revista Portuguesa da Imagem em Movimento 6, no. 2 (August 20, 2019): 03–24. http://dx.doi.org/10.14591/aniki.v6n2.511.
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This article analyzes Amélia (2000), feature film written and directed by Brazilian filmmaker Ana Carolina, aiming to understand the diegetic uses of arts such as I-Juca Pirama, a poem by Gonçalves Dias, and the theatre of Sarah Bernhardt. The investigation is based upon the propositions of intermediality, which investigates the intermedial configurations created with the superimposition of cinema and other arts, in order to demonstrate how poetry and theatre engender new layers of meaning in the filmic content and also indicate the coexistence of different historical temporalities, such as the colonization of Brazil and the beginning of the 21st century. Hence, this study intends to contribute to comprehend the history of Brazilian films directed by women filmmakers, emphasizing intermedial relations in the period known as the "Renaissance" of Brazilian cinema.
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Christoff, Alicia Mireles. "Margaret and the Victorians." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 507–23. http://dx.doi.org/10.1632/pmla.2019.134.3.507.
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This essay examines Kenneth Lonergan's stunning and underviewed New York City film Margaret (2011), placing it in a larger corpus of post-9/11 artistic production while also drawing out its Victorian intertexts—most notably, the Gerard Manley Hopkins poem that gives the film its title. Margaret derives its organizing thematics and formal experiments with sound from the Victorian cultural trope of hyperesthesia: the drive to look beyond the self (the protagonist, the nation) and the answering anxiety that doing so would mean being overwhelmed by the frequency of human suffering. Margaret demonstrates the continued pull of Victorian aesthetics and politics of representation on contemporary literature and film and, I argue, the cost of this persistence. At once emphasizing and occluding the far-reaching and long-lasting violence of formal and informal empire, Margaret carefully attunes us to particular forms of suffering—but only by disattuning us to global catastrophe.
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Freer, Scott. "Remediating ‘Prufrock’." Arts 9, no. 4 (October 15, 2020): 104. http://dx.doi.org/10.3390/arts9040104.
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This article examines remediated examples of T.S. Eliot’s ‘The Love Song of J. Alfred Prufrock’ (1915). Eliot’s innovative dramatic monologue has sustained an enduring inter-media afterlife, mainly because visual artists generally capitalized on the poem’s residual Victorian painterly and semi-narrative qualities. Here I look at a wider range of visual forms from old and new media that, for both pedagogic and artistic purposes, remediate the poem’s ekphrastic, semi-narrative and modernist aesthetics: the comic strip, the animated film, the dramatic monologue film, the split-screen video poem and the photographic spatial montage. Together, they demonstrate the dialogic and multi-directional nature of remediation and articulate via inter-media strategies various literary properties and themes (e.g., character, setting, visual motifs, paralysis) of ‘Prufrock’.
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Martinec, Thomas. "‘Some kind of film-poem’: the poetry of Wim Wenders'Der Himmel Über Berlin/Wings of Desire." Studies in European Cinema 6, no. 2&3 (December 2009): 165–78. http://dx.doi.org/10.1386/seci.6.2-3.165/1.
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Fest, Bradley J. "“Is an Archive Enough?”: Megatextual Debris in the Work of Rachel Blau DuPlessis." Genre 54, no. 1 (April 1, 2021): 139–65. http://dx.doi.org/10.1215/00166928-8911550.
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In the twenty-first century, digital technologies have made it possible for writers and artists to create massively unreadable works through computational and collaborative composition, what the author has elsewhere called megatexts. The ubiquity of texts appearing across media that are quite literally too big to read—from experimental novels to television, film, and video games—signals that the megatext is an emergent form native to the era of neoliberalism. But what happens to other long forms, such as the twentieth-century long poem, when written in an era of megatextuality? Rachel Blau DuPlessis's work, including Drafts (1987–2013) and Traces, with Days (2017–), readily suggests itself as a case study for thinking through a megatextual impulse in the twenty-first-century long poem. Though her work is plainly indebted to its modernist precursors (H.D., Pound, Williams, etc.) while disavowing at every level of its composition a patriarchal will toward totality, DuPlessis's various experiments in the long poem are also thoroughly contemporary and respond to the economic, military, political, and environmental transformations of the neoliberal era by drawing upon and producing fragmentary, megatextual debris. This essay positions DuPlessis's work amidst a larger twenty-first-century media ecology, which includes both the megatext and the big, ambitious novel, and argues that rather than simply (and futilely) resist the neoliberal cultural logic of accumulation without end, DuPlessis hypertrophically uses the megatext's phallogocentric form against itself in order to interrogate more broadly what it means—socially, culturally, economically—to write a long poem in the age of hyperarchival accumulation.
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Gellér, Katalin. "« La musique nous accompagne du berceau à la tombe »." Studia Musicologica 54, no. 4 (December 1, 2013): 443–54. http://dx.doi.org/10.1556/smus.54.2013.4.9.
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In 1881 Hungarian painter Mihály Zichy gave a pen drawing entitled Du berceau jusqu’au cercueil as a gift to Franz Liszt who was responsible for the musical education of Zichy’s daughter. Inspired by the drawing, Liszt composed the symphonic poem Von der Wiege bis zum Grabe / Du berceau jusqu’à la tombe (From the Cradle to the Grave). The first edition of the symphonic poem was illustrated by Zichy’s drawing. The painter later extended the subject with a number of narrative parts in order to illustrate those variety in which music can appear. This new graphic work Music Accompanies from the Cradle to the Grave was composed of consecutive and juxtaposed images associating film stills. He utilized this second variation in 1892 for planning the decoration of a concert hall in Saint Petersburg. In the shift from narrative to allegorical content these two graphic works together contain a hidden allegory of life and death.
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Nuraeni, Iin, and Fahrus Zaman Fadhly. "CREATIVE PROCESS IN FICTION WRITING OF THREE INDONESIAN WRITERS." Indonesian EFL Journal 2, no. 2 (September 12, 2017): 117. http://dx.doi.org/10.25134/ieflj.v2i2.644.
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This research investigates the creative process in fiction writing employed by three writers of different writing genres: short story, novel, and poem. This study applied a qualitative method that involved one male and two female writers in Kuningan and Majalengka. The data collected from document analysis, observation, and interview were analyzed through descriptive qualitative method. The results of the analysis revealed that there were five creative processes of writing fiction used by the writers in writing fiction, namely preparation, incubation, insight, evaluation, and elaboration. Besides, it also revealed that novel writer is more creative than short story and poem writers since he uses all steps of creative process. In addition, the researcher found that there were some ways of exploring imagination in writing fiction, including drawing and deepen characters in the film or theater, making mind mapping to write, developing a shorter text, and expecting that the writing will be read by younger generation.Keywords: creative process, writing fiction, fiction writers, imagination process
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Ramirez, Gracia. "Quietness, isolation and reimagining contact in the city after the pandemic." Moving Image Review & Art Journal (MIRAJ) 9, no. 2 (September 1, 2020): 168–75. http://dx.doi.org/10.1386/miraj_00037_1.
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In the beginning of April 2020, visual artist Daniel Solomons and myself, a film scholar, set out to collaborate to produce something in response to the experience of the lockdown. We departed from a set of video images recorded in London’s Liverpool Street Station in March 2019. From the distance of confinement and the stillness of the worldwide shutdown of passenger transport, the video images of the frantic movement of people in one of London’s biggest train stations had acquired a different dimension. We wrote a text to accompany the images which took as driving force the last words of Wallace Stevens’ poem ‘The House Was Quiet and the World Was Calm’ (2006). The poem evokes an image of quietness and contentment that created various contradictions with the situation that we had been thrown into. We wanted to explore the feeling of seeing mass mobility from the perspective of stillness and belonging to the past as in the present was to be avoided.
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Wennerscheid, Sophie. "Things don’t cry, do they? Emotional attachment between humans, technology and nature in Harry Martinson’s epic space poem Aniara and the science fiction film Aniara." Journal of Scandinavian Cinema 11, no. 1 (March 1, 2021): 31–48. http://dx.doi.org/10.1386/jsca_00036_1.
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While Harry Martinson’s epic space poem Aniara (1956) has received little attention outside Sweden over the last half-century, several new adaptations have appeared in recent years, most notably the 2018 science fiction film Aniara. This article explores the reason for this renewed interest and argues that, in addition to ecocritical aspects, it is the interest in human‐machine relations that has contributed to the rediscovery. Drawing on Jane Bennett’s notion of thing-power, the article focuses on the spaceship Aniara’s artificial intelligence, Mima. Both in Martinson’s text and the film adaptation, Mima is depicted as a sentient machine that does not show empathy with suffering humans but rather with the suffering of nature, epitomized in crying stones. Analysing the motif of the crying stones in more detail, the article seeks to contribute to the discussion about emotional attachment between humans, technology and nature.
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Sinka, Margit. "When the Son Is Older than the Father: Dominik Graf's 'Denk ich an Deutschland' Television Film." German Politics and Society 26, no. 2 (June 1, 2008): 56–75. http://dx.doi.org/10.3167/gps.2008.260204.
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Dominik Graf's Wispern im Berg der Dinge (A Whispering in the Mountain of Things) was the second film televised in the twelve-part Denk ich an Deutschland-documentary series launched on the eve of Germany's eighth Day of Unity (October 1998). Though Graf does not refer directly to Heinrich Heine, he clearly takes Heine's mode of thinking about Germany seriously—that is, he resolutely focuses on ruptures, which characterize Heine and his writings, and on the tensions provoked by the interplay of opposites evident in Heine's poem Nachtgedanken (1843), the source of the Denk ich an Deutschland-phrase. In Graf's documentary, Heine's ruptures turn into ruptures between his father's excessively silent war generation and his own unanchored post 1968 generation. The tensions, on the other hand, are evoked by the filmic medium—in particular, between verbal and iconic images. Thinking about film when he thinks about Germany, Graf examines his deceased father's many roles in the West German films of the 1950s and 1960s—roles that had turned him into the representative of the damaged war generation. Faulting the purely verbal in a medium intended to give concrete, visual form to reality, Graf attempts to harness the powers of both verbal and iconic images in the service of identity formation, yet grants the edge to the iconic, as well as to the fictional rather than the factual.
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Galicia Isasmendi, Berenize. "La presencia de Ingmar Bergman en la poesía de Francisco Hernández. Una lectura desde la hermenéutica analógica." Interpretatio. Revista de hermenéutica 7, no. 2 (September 14, 2022): 201–27. http://dx.doi.org/10.19130/irh.2022.7.2.00x27s0040.
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This article addresses the poetry of the Mexican writer Francisco Hernández (Veracruz, 1946) based on the analogical hermeneutics of the philosopher Mauricio Beuchot. The analysis is centered on the poem “Act followed”, which is part of the book Screaming is a Dumb’s thing (1974), in which the topics of nothingness and faith are identified in the Biblical Apocalypse, linked from Hernández’s reinterpretation of the film The Seventh Seal (1957), by Ingmar Bergman. I study the meaning of these topics and the way in which the writer adopts them in his poetics.
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Chasar, Mike. ""Overlook the Poem, but Look the Picture Over": On the History of Poetry and American Silent Film." JCMS: Journal of Cinema and Media Studies 59, no. 1 (2019): 23–43. http://dx.doi.org/10.1353/cj.2019.0065.
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Kim, Do Hyun, Min Su Park, Yeji Choi, Ki Bong Lee, and Jong Hak Kim. "Synthesis of PVA-g-POEM graft copolymers and their use in highly permeable thin film composite membranes." Chemical Engineering Journal 346 (August 2018): 739–47. http://dx.doi.org/10.1016/j.cej.2018.04.036.
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