LEADER 03635nam 22006135 450 001 9910483329403321 005 20240627174918.0 010 $a9783030629342 010 $a3030629341 024 7 $a10.1007/978-3-030-62934-2 035 $a(CKB)4100000011902458 035 $a(MiAaPQ)EBC6566947 035 $a(Au-PeEL)EBL6566947 035 $a(OCoLC)1249472289 035 $a(DE-He213)978-3-030-62934-2 035 $a(EXLCZ)994100000011902458 100 $a20210421d2021 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAdaptation and the New Art Film $eRemaking the Classics in the Twilight of Cinema /$fby William H. Mooney 205 $a1st ed. 2021. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2021. 215 $a1 online resource (283 pages) 225 1 $aPalgrave Studies in Adaptation and Visual Culture,$x2634-6303 311 08$a9783030629335 311 08$a3030629333 327 $aIntroduction -- Part 1: Rainer Werner Fassbinder and Douglas Sirk -- Chapter 1: The Recreation of All that Heaven Allows as Angst Essen Seele Auf (Fear Eats the Soul, 1974) -- Part 2: Derivations and Procedural Challenges -- Chapter 2. The Palimpsestuous Ghost of Rome Open City (1945) in The Lives of Others (2006) -- Chapter 3. Clouds of Sils Maria and All about Eve: Adapting a Classic Paradigm -- Chapter 4. Leos Carax: Les Amants du Pont-Neuf and City Lights -- Part 3: Nostalgic Adventures and Aesthetic Complications -- Chapter 5. Chantal Akerman in the Labyrinth of Desire: La Captive, Marcel Proust, and Vertigo -- Chapter 6. The Coen Brothers' Retrospective Foreboding -- Chapter 7. Baz Luhrmann's Outsized Ambition: The Great Gatsby and Citizen Kane -- Chapter 8. Conclusion. 330 $aSince the 1990s, the expropriation of canonical works of cinema has been a fundamental dimension of art-film exploration. Rainer Werner Fassbinder provides an early model of open adaptation of film classics, followed ever more boldly by the Coen Brothers, Chantal Akerman, Alex Carax, Todd Haynes, Florian Henckel von Donnersmarck, Baz Luhrmann, and Olivier Assayas. This book devotes chapters to each of these directors to examine how their films redeploy landmark precursors such as City Lights (1931), Citizen Kane(1941), Rome Open City (1945), All About Eve (1950), and Vertigo (1958) in order to probe our psychological, philosophical, and historical situations in a postmodern société du spectacle. In broadly diverse ways, each of these directors complicates received notions of the past and its representation, while probing the transformative media evolution and dislocation of the present, infilm art and in society. 410 0$aPalgrave Studies in Adaptation and Visual Culture,$x2634-6303 606 $aAdaptation (Literary, artistic, etc.) 606 $aMotion pictures, American 606 $aMotion pictures 606 $aAdaptation Studies 606 $aAmerican Film and TV 606 $aGlobal Film and TV 615 0$aAdaptation (Literary, artistic, etc.) 615 0$aMotion pictures, American. 615 0$aMotion pictures. 615 14$aAdaptation Studies. 615 24$aAmerican Film and TV. 615 24$aGlobal Film and TV. 676 $a791.436 676 $a791.436 700 $aMooney$b William H.$f1948-$0853248 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910483329403321 996 $aAdaptation and the New Art Film$94332228 997 $aUNINA