Pub Date : 2021-09-13DOI: 10.1163/24056480-00603007
C. Gheorghe
The collaboration between László Krasznahorkai and Béla Tarr has resulted in one of the most celebrated recent works of world cinema. The adaptation aspect of films like Sátántangó (1994) and Werckmeister Harmonies (2000) is sometimes overlooked by adaptation studies. I will argue that the concept of fidelity criticism, disregarded by recent studies of adaptation, is still valuable for analysing the way in which literariness can travel through the transmedial modality of time and duration. These case studies suggest that a transmedial approach to the relation between world literature and world cinema is possible by putting forward a different understanding of the concept of fidelity as circulation, a concept that is common to both world cinema and world literature studies.
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Pub Date : 2021-09-13DOI: 10.1163/24056480-00603006
L. Marcus
This article addresses a particular example of the intersection of literature and cinema in the film Call Me By Your Name, made by Luca Guadagnino and based on the novel of the same title by André Aciman, and the themes of nostalgia and loss in the work of both. The film results from the encounter, in its production and in a large number of retrospective discussions, between the cosmopolitan writer André Aciman and the Italian director Luca Guadagnino who, while attentive to global issues such as the trans-Mediterranean migration which features in the film, is very much grounded in his home region of northern Italy. The (rather differently figured) Jewish and homosexual identities of the two protagonists in the novel and the film are also addressed.
{"title":"“In the Key of Loss”","authors":"L. Marcus","doi":"10.1163/24056480-00603006","DOIUrl":"https://doi.org/10.1163/24056480-00603006","url":null,"abstract":"\u0000 This article addresses a particular example of the intersection of literature and cinema in the film Call Me By Your Name, made by Luca Guadagnino and based on the novel of the same title by André Aciman, and the themes of nostalgia and loss in the work of both. The film results from the encounter, in its production and in a large number of retrospective discussions, between the cosmopolitan writer André Aciman and the Italian director Luca Guadagnino who, while attentive to global issues such as the trans-Mediterranean migration which features in the film, is very much grounded in his home region of northern Italy. The (rather differently figured) Jewish and homosexual identities of the two protagonists in the novel and the film are also addressed.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43922058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-13DOI: 10.1163/24056480-00603009
Luis A. Medina Cordova
This article analyses the literature-cinema dialogue established by the Ecuadorian writer Gabriela Alemán in her short story collection La muerte silba un blues (2014). Firstly, I revise how Alemán borrows the production methods of the cult Spanish filmmaker Jesús “Jess” Franco to craft a collection that aids us to see the world as an interconnected whole. Secondly, I close read the story that opens the collection, El extraño viaje, which takes Orson Welles’ radiophonic adaptation of The War of the Worlds to the Ecuadorian context. My argument is that, in making the city of Quito the target of H.G. Wells’ Martian invasion, Alemán engages with a rich history of multimedia adaptations and places Ecuador’s capital at the centre of a global narrative. I argue that her work decentres and recentres world literature dynamics where Latin American literature in general, and Ecuadorian writing in particular, sit at the periphery of world literary systems.
本文分析了厄瓜多尔作家加布里埃拉Alemán在其短篇小说集《蓝色的死亡》(La muerte silba un blues, 2014)中建立的文学与电影对话。首先，我修改了Alemán如何借用西班牙电影制作人Jesús“Jess”Franco的制作方法来制作一个系列，帮助我们将世界视为一个相互关联的整体。其次，我仔细阅读了这本合集的开篇故事《El extraño viaje》，它将奥逊·威尔斯改编的《世界大战》带到厄瓜多尔。我的观点是，在把基多作为H.G.威尔斯火星入侵的目标时，Alemán融入了丰富的多媒体改编历史，并将厄瓜多尔的首都置于全球叙事的中心。我认为，她的作品是世界文学动态的中心和最近的中心，而拉丁美洲文学，特别是厄瓜多尔文学，通常处于世界文学体系的边缘。
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Pub Date : 2021-09-13DOI: 10.1163/24056480-00603002
David Damrosch
The growth of globalization has greatly expanded the exposure of writers and now filmmakers to the wider world beyond their home country or region, offering new opportunities to bring elements of the outside world into their works, and in turn to take their works out to distant audiences. This essay discusses the increasing presence of foreign cultures in the progression from the literary detail to the stage prop and then the movie location, and then focuses on three films based on literary works, films that display the growing presence of the world in contemporary cinema and of the films in the world.
{"title":"Page, Stage, Location","authors":"David Damrosch","doi":"10.1163/24056480-00603002","DOIUrl":"https://doi.org/10.1163/24056480-00603002","url":null,"abstract":"\u0000 The growth of globalization has greatly expanded the exposure of writers and now filmmakers to the wider world beyond their home country or region, offering new opportunities to bring elements of the outside world into their works, and in turn to take their works out to distant audiences. This essay discusses the increasing presence of foreign cultures in the progression from the literary detail to the stage prop and then the movie location, and then focuses on three films based on literary works, films that display the growing presence of the world in contemporary cinema and of the films in the world.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48393957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-13DOI: 10.1163/24056480-00603005
Claire Tomasella
This article sets out to explore the multiple “senses” in Raoul Peck’s 2016 documentary I Am Not Your Negro from several perspectives. First, it focuses on Peck’s cinematographic ambitions with reference to his social experience of geographic mobility and to his current position in the transnational field of cinema. The making of I Am Not Your Negro, ultimately led the Haitian-born director, with a commitment to producing a critical “auteur cinema” to create a cinematic testament to the opus of James Baldwin, an author in whom he discovered a language for thinking and for deconstructing racialization. This multi-facetted analysis of Peck’s documentary film and its making will enable us to shed light on the form and meaning of the intellectual quest Peck undertakes in his dialogue with Baldwin.
{"title":"Between Life and Legend","authors":"Claire Tomasella","doi":"10.1163/24056480-00603005","DOIUrl":"https://doi.org/10.1163/24056480-00603005","url":null,"abstract":"\u0000 This article sets out to explore the multiple “senses” in Raoul Peck’s 2016 documentary I Am Not Your Negro from several perspectives. First, it focuses on Peck’s cinematographic ambitions with reference to his social experience of geographic mobility and to his current position in the transnational field of cinema. The making of I Am Not Your Negro, ultimately led the Haitian-born director, with a commitment to producing a critical “auteur cinema” to create a cinematic testament to the opus of James Baldwin, an author in whom he discovered a language for thinking and for deconstructing racialization. This multi-facetted analysis of Peck’s documentary film and its making will enable us to shed light on the form and meaning of the intellectual quest Peck undertakes in his dialogue with Baldwin.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47661290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-13DOI: 10.1163/24056480-00603003
Tara Coleman
Grounded in the heterogenous linguistic and cultural landscape of Hong Kong, this article proposes a translational approach to the practice of world cinema, focusing on director Wong Kar-wai, via World Literature and the poetry of Leung Ping-kwan. Wong is a lyrical cinematic stylist, while Leung had a strong scholarly interest in cinema and produced many collaborations with visual artists. Both are highly attuned to the distinctiveness of daily life in Hong Kong despite its infusion of international influences. Moving beyond a model which sees translation as a secondary process carrying a work beyond its local context, I use Sakai Naoki’s concept of the “heterolingual address” to trace how translation becomes foundational to these artists’ engagement with the multilayered space and uneven temporality of Hong Kong.
{"title":"From Translating for the World to Translation as the World","authors":"Tara Coleman","doi":"10.1163/24056480-00603003","DOIUrl":"https://doi.org/10.1163/24056480-00603003","url":null,"abstract":"\u0000 Grounded in the heterogenous linguistic and cultural landscape of Hong Kong, this article proposes a translational approach to the practice of world cinema, focusing on director Wong Kar-wai, via World Literature and the poetry of Leung Ping-kwan. Wong is a lyrical cinematic stylist, while Leung had a strong scholarly interest in cinema and produced many collaborations with visual artists. Both are highly attuned to the distinctiveness of daily life in Hong Kong despite its infusion of international influences. Moving beyond a model which sees translation as a secondary process carrying a work beyond its local context, I use Sakai Naoki’s concept of the “heterolingual address” to trace how translation becomes foundational to these artists’ engagement with the multilayered space and uneven temporality of Hong Kong.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42722101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-13DOI: 10.1163/24056480-00603008
A. Mirizio
In his 1952 essay “For an Impure Cinema: In Defense of Adaptation,” André Bazin defended cinema’s “impurity” as a necessary element in the medium’s formal evolution and technical development. The Italian writer, filmmaker, and essayist Pier Paolo Pasolini based his own artistic method on the tension among the distinct artistic languages that characterizes Bazin’s “impure cinema,” thereby situating his work in his “library-laboratory,” a space where ideas circulate beyond their disciplinary fields. In keeping with Bazin’s essay, this article illuminates how Pasolini turned his library into a toolbox and blurred the boundaries between mediums of creation and categories of theoretical thought.
在他1952年的文章《为了不纯粹的电影:为改编辩护》中，安德烈·巴赞为电影的“不纯粹”辩护，认为这是媒介形式演变和技术发展的必要因素。意大利作家、电影制作人和散文家皮尔·保罗·帕索里尼(Pier Paolo Pasolini)将自己的艺术方法建立在巴赞的“不纯粹电影”所特有的不同艺术语言之间的紧张关系上，从而将他的作品置于他的“图书馆-实验室”中，这是一个思想超越其学科领域的空间。为了与巴赞的文章保持一致，本文阐明了帕索里尼如何将他的图书馆变成一个工具箱，模糊了创作媒介和理论思想范畴之间的界限。
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Pub Date : 2021-09-13DOI: 10.1163/24056480-00603010
Michael O’Krent
Videogames offer vast potential for critical reflection by humanities scholars, but the tendency of existing game studies scholarship to treat the rules of a game separately from the game’s social meaning suggests that videogames have no place in humanistic disciplines. This article challenges that notion by contrasting a cultural view of videogames with the dominant mere-technology view. Ecocriticism functions as a prestige language for videogames that permits entrance into what sociologist Pierre Bourdieu calls the field of cultural production. Ecology simultaneously provides metaphors for explaining videogame technology while allowing games to enter ongoing critical and cultural conversations. Humanists interested in but unfamiliar with videogames should therefore start with those with environmentalist themes. This article presents Horizon Zero Dawn (2017) as a case study. Horizon Zero Dawn presents a stylized pastoral pseudo-utopia that embraces ecofeminist calls to reconstruct rationality while challenging existing sexism in computing fields.
{"title":"Welcome to the Field","authors":"Michael O’Krent","doi":"10.1163/24056480-00603010","DOIUrl":"https://doi.org/10.1163/24056480-00603010","url":null,"abstract":"\u0000 Videogames offer vast potential for critical reflection by humanities scholars, but the tendency of existing game studies scholarship to treat the rules of a game separately from the game’s social meaning suggests that videogames have no place in humanistic disciplines. This article challenges that notion by contrasting a cultural view of videogames with the dominant mere-technology view. Ecocriticism functions as a prestige language for videogames that permits entrance into what sociologist Pierre Bourdieu calls the field of cultural production. Ecology simultaneously provides metaphors for explaining videogame technology while allowing games to enter ongoing critical and cultural conversations. Humanists interested in but unfamiliar with videogames should therefore start with those with environmentalist themes. This article presents Horizon Zero Dawn (2017) as a case study. Horizon Zero Dawn presents a stylized pastoral pseudo-utopia that embraces ecofeminist calls to reconstruct rationality while challenging existing sexism in computing fields.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43576100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-13DOI: 10.1163/24056480-00603001
Michael Wood, Delia Ungureanu
This issue of the Journal of World Literature seeks to bring together two fields of study that have much in common, but that have been largely separate in practice. Literary scholars rarely discuss films apart from occasional direct adaptations, and while world cinema has sometimes looked at the theoretical framing developed in world literature studies, neither discipline has thought more generally beyond its respective medium. Yet writers, painters, musicians, and filmmakers hardly ever think in terms of disciplinary boundaries, and they do not develop their art with a tunnel vision. Modern writers have all grown up in an expansive mediascape, while many filmmakers have had extensive literary training. The essays in this issue aim to move beyond adaptation studies and intermedial studies to lookmore closely at how ideas circulate betweenmedia, creating for literary and film studies something of the complexity andopenness to each other that the different media themselves have long enjoyed.
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Pub Date : 2021-09-07DOI: 10.1163/24056480-20210008
Shu-Chun Yu
In view of the importance of canon formation in the rewriting of Chinese literary history and the role of translation anthologies in constructing literary canons, this article examines the process of canonization represented in the anthologies of Renditions from 1973 to 2020. It observes the literary works that the Renditions’ anthologies attempt to build into canons and delves into the reasons behind the canon building. It concludes that the anthologies of Renditions challenge and subvert the literary canons established by the Chinese mainland, while trying to reconstruct and even popularize new canons from a Hong Kong perspective. Moreover, Renditions’ efforts to anthologize Chinese literature open up new possibilities for future canon formation and pave the way for a more comprehensive revision of Chinese literary history.
{"title":"Anthologizing Chinese Literature and Reinventing Literary Canons","authors":"Shu-Chun Yu","doi":"10.1163/24056480-20210008","DOIUrl":"https://doi.org/10.1163/24056480-20210008","url":null,"abstract":"\u0000 In view of the importance of canon formation in the rewriting of Chinese literary history and the role of translation anthologies in constructing literary canons, this article examines the process of canonization represented in the anthologies of Renditions from 1973 to 2020. It observes the literary works that the Renditions’ anthologies attempt to build into canons and delves into the reasons behind the canon building. It concludes that the anthologies of Renditions challenge and subvert the literary canons established by the Chinese mainland, while trying to reconstruct and even popularize new canons from a Hong Kong perspective. Moreover, Renditions’ efforts to anthologize Chinese literature open up new possibilities for future canon formation and pave the way for a more comprehensive revision of Chinese literary history.","PeriodicalId":36587,"journal":{"name":"Journal of World Literature","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42161484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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