1. The Heir

Eisenstein, Sergei

doi:10.1515/9789048517114-005

Cited by 2 publications

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“…7 This was one effect of the montagic work that movements between propaganda scenes might engender. Whether by combining montage's transformative power (Eisenstein 1943), colliding two or more independent film shots together to produce a new idea, or assembling transient pieces of propaganda into a string of sequential connections with new points of conflict, tension, and resolution, these Shanghai residents produce the possibility of novel political teleologies through which critical analysis might take place.…”

Section: Episodes Of Politicsmentioning

confidence: 99%

“…Consider the possibility of experiencing a propaganda poster as one fragment of a longer moving image, composed of the many posters hung up and taken down on walls like this one over time. In the twentieth century, early schools of film theory sought to consolidate their legitimacy by identifying characteristics proper to cinematic production and reception that imbued film with distinct political purchase (Eisenstein 1943;Epstein 1921Epstein , 1924. 2 Their now canonical debates during this race to confirm their own science largely crystallized around film's "essence," as it were, with its constitutive elements of framing, montage, narrative, light, language, and time functioning as both the objects of contestation and unifying terms of a nascent discipline.…”

Section: Introductionmentioning

confidence: 99%

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The Picture as a Moving Image

Su¹

2021

Visual Anthropology Review

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For some longtime locals in Shanghai, China, street propaganda’s periodic renovations muddle the distinction between still and moving images. When the cyclic changing of propaganda pieces began to acquire filmic qualities for those who bore witness, they made recourse to these narrative and episodic properties to critique their experiences of political instability. Their discourses implicate media forms as genres of experiencing political transformation. Moreover, their refusal of still images in favor of fungible, overlapping filmic sequences lends ethnographic texture to ongoing scholarly debates about how to historicize the nonlinear development of contemporary Chinese politics, especially under the analytic of “postsocialism.”

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Section: Episodes Of Politicsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

The Picture as a Moving Image

Su¹

2021

Visual Anthropology Review

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Meaning-making tools in intersemiotic translation (based on screen adaptation of “The hours”)

Tashchenko

2022

Cognition, Communication, Discourse

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The present article focuses on screen adaptations as intersemiotic translation which gives an opportunity to transpose written word into the multimodal space of cinema. Taking up the role of translators who act as mediators between different semiotic systems, film-makers face a range of challenges associated with the meaning-making resources available to the creator of a book and a film, respectively. They have to take into account a variety of factors ranging from the need to preserve the spirit of the book and its aesthetic value to the obligation to ensure commercial success of the film. However, reinterpretation of a literary work for screen purposes inevitably produces a new work of art which starts its own life in the cultural environment it is meant for. Unleashing their creativity, film-makers decide which elements of the book they consider essential to convey the key message of the writer and which could be sacrificed to provide for the visual appeal of the work of cinema. A vivid example of such a challenge is seen in filming “The Hours” based on the novel by M. Cunningham, a story of three women bound through time with a book. Virginia Woolf writing her “Mrs. Dalloway”, Laura Brown reading it and Clarissa Vaughn nicknamed Mrs. Dalloway by her former lover—all of them are struggling to find their true selves in the world, which dictates the way they must live their femininity. The battles they have to fight every single day without having the right to speak up are mostly represented in their internal monologues the novel abounds with. The film, in its turn, focuses on the main events in the story reinforcing them with powerful symbols such as the kiss that reveals true desires of Virginia and Laura while showing Clarissa that her life goes on; the cake that becomes an embodiment of Laura’s failure as a spouse and a mother; water that will swallow Virginia and become a point of no return for Laura, and flowers presaging death for Virginia but fortelling life for Clarissa. An intricate mixture of music, image, and unrivaled play of actors produce a coherent and eloquent narrative, which makes viewers rethink gender stereotypes as well as Virginia Woolf’s legacy.

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1. The Heir

Cited by 2 publications

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The Picture as a Moving Image

The Picture as a Moving Image

Meaning-making tools in intersemiotic translation (based on screen adaptation of “The hours”)

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