{"title":"Two divergent cinematic readings of enslavement in ‘An Occurrence at Owl Creek Bridge’","authors":"David Melbye","doi":"10.1386/sfs_00090_1","DOIUrl":null,"url":null,"abstract":"Ambrose Bierce’s Civil War story ‘An Occurrence at Owl Creek Bridge’ was adapted in 1959 as a television episode of Alfred Hitchcock Presents and in 1962 as Robert Enrico’s French film La Rivière du hibou, which was presented as an episode of The Twilight Zone in turn. Although the common reading of this story aligns it with the author’s other ‘antiwar’ narratives, African American enslavement comes to the fore in both these audio-visual adaptations, but with opposite connotations. Examining their digression in narrative and stylistic directions illustrates the dichotomies of motion-picture aesthetics: low vs. high art, mainstream vs. avant-garde, escapism vs. social critique – and demonstrates the cultural possibility for these contrasting approaches to register concurrently as popular media products.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Short Film Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/sfs_00090_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
Ambrose Bierce’s Civil War story ‘An Occurrence at Owl Creek Bridge’ was adapted in 1959 as a television episode of Alfred Hitchcock Presents and in 1962 as Robert Enrico’s French film La Rivière du hibou, which was presented as an episode of The Twilight Zone in turn. Although the common reading of this story aligns it with the author’s other ‘antiwar’ narratives, African American enslavement comes to the fore in both these audio-visual adaptations, but with opposite connotations. Examining their digression in narrative and stylistic directions illustrates the dichotomies of motion-picture aesthetics: low vs. high art, mainstream vs. avant-garde, escapism vs. social critique – and demonstrates the cultural possibility for these contrasting approaches to register concurrently as popular media products.
期刊介绍：
The main purposes of SFS are: To stimulate ongoing research on individual short films as a basis for a better understanding of the art form To provide a flow of cutting-edge teaching materials that can be used in courses in which short films are either studied or produced, at film schools or universities To offer fresh inspiration to filmmakers and other professionals working with short films in connection with festivals, national film institutes, regional film centres, etc. While the principal focus is on the short fiction film, other classic forms – such as the short documentary, the short experimental film and the short animation film – are also covered from time to time. In each issue, two productions are singled out for comprehensive presentation and close study. For each film, the reader will find production data, an interview with the director, a shot-by-shot breakdown of the film with a still illustrating every shot, a number of peer-reviewed articles that illuminate the film from a variety of perspectives and a link enabling subscribers to view the film.
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