Trash Cinema and Oscar Gold: Quentin Tarantino, Intertextuality, and Industry Prestige

Kennedy‐Karpat, Colleen

doi:10.1007/978-3-319-52854-0_10

Cited by 3 publications

(1 citation statement)

References 11 publications

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“…But on the other hand, when contemporary awards hail the achievements of new productions and adaptations of Shakespeareincluding Shakespearean performers, as Blackwell emphasizes in her chapteror the film adaptations of Jane Austen that Anne-Marie Scholz discusses in Chapter 8, or even an Internet spoof of Hitchcock, this renewed attention can change the way we read (or rank) his plays, her novels, and/or his films. 2 Adaptation is a forward-looking process that sets old works in new frames, reinterpreting them not just in terms of new(er) media but "through the values of the present" (Stam 2000, 57). But adaptation also affects these older works.…”

Section: Adaptation and The Canonmentioning

confidence: 99%

Adaptation and Systems of Cultural Value

Kennedy‐Karpat

Sandberg

2017

Adaptation, Awards Culture, and the Value of Prestige

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Howard Jacobson's dystopian novel J (2015) imagines a future Britain in which power is exerted not through the direct force of the police or army, but through a pervasive social system that controls what people read, watch, and listen to: in Althusser's terms, this is a society controlled not by a "Repressive State Apparatus" but by "Ideological State Apparatuses" (1971, 143). Undesirable cultural products are "not bannednothing was banned exactlysimply not played. Encouraged to fall into desuetude, like the word desuetude" (11). The state also actively encourages acceptable forms of cultural activity through the awarding of prizes: "When all the gongs go to landscape, why would any aspiring artist waste his energies on the dull and relentless cruelties of the human face,"

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Section: Adaptation and The Canonmentioning

confidence: 99%

Adaptation and Systems of Cultural Value

Kennedy‐Karpat

Sandberg

2017

Adaptation, Awards Culture, and the Value of Prestige

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Gender, War Heroes, and Cinema

Erdem¹

2020

The International Encyclopedia of Gender, Media, and Communication

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This entry offers an overview of the scholarship on masculinity in contemporary Hollywood war films. War heroes provide an analytical focus for film studies to examine the ways in which masculinity is defined through war film narratives. Recent studies show that two identifiable cycles in contemporary Hollywood war films have challenged the binary understanding of men/masculinity and women/femininity: the first depicts failed American heroes and interrogates the dominant discourse of war and military as expressions of manhood; the other features female protagonists and questions the alignment of men, masculinity, and heroism in mainstream war films. In order to assess the discourses of masculinity in contemporary Hollywood war films adequately, Yvonne Tasker proposes a “flexible gender model” in her critical approach to the genre's representation of heroes and heroines. Masculinity, as Tasker defines it, is not a set of identifying qualities for men, but rather a critical concept for exploring the complexities of masculinity as performed by all genders. Contemporary war films thus offer narrative conventions through which to negotiate and redefine socially constructed gender differences.

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Adapting the Holocaust: Martin Amis’ and Jonathan Glazer’s The Zone of Interest

Sandberg

2024

Adaptation

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Critics and reviewers have frequently dismissed the adaptive relationship between Martin Amis’ novel The Zone of Interest (2014) and Jonathan Glazer’s 2023 film of the same name. This essay argues that this is an inaccurate characterization of the connection between two works that respond to one of the main cultural challenges of the twentieth and twenty-first centuries: how best to represent the horrors of the Holocaust. Both, I argue, do so at least in part through strategies of adaptation, and should be seen not just as two parts of a source-text/adapted-text binary, but as part of a larger adaptive and intertextual network. This status has a direct impact on the overlapping ways they deal with the problematics of Holocaust representation. By addressing the challenges of Holocaust representation through strategies of adaptation, Amis’ novel and Glazer’s film reaffirm both the importance of the Holocaust to contemporary literary and cinematic culture and the importance of adaptation and adaptive processes to its representation.

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Trash Cinema and Oscar Gold: Quentin Tarantino, Intertextuality, and Industry Prestige

Cited by 3 publications

References 11 publications

Adaptation and Systems of Cultural Value

Adaptation and Systems of Cultural Value

Gender, War Heroes, and Cinema

Adapting the Holocaust: Martin Amis’ and Jonathan Glazer’s The Zone of Interest

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