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The enchanted screen: The Italian fa...

Annunziato, Sarah Elizabeth.

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The enchanted screen: The Italian fairytale and adaptation.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The enchanted screen: The Italian fairytale and adaptation./
作者:	Annunziato, Sarah Elizabeth.
面頁冊數:	276 p.
附註:	Adviser: Pier Massimo Forni.
Contained By:	Dissertation Abstracts International67-11A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3240664
ISBN:	9780542953729

The enchanted screen: The Italian fairytale and adaptation.
Annunziato, Sarah Elizabeth.

The enchanted screen: The Italian fairytale and adaptation. - 276 p.

Adviser: Pier Massimo Forni.

Thesis (Ph.D.)--The Johns Hopkins University, 2007.

Italian cinema critics rarely explore the metamorphoses of that nation's acclaimed fairytales into film. This study examines how filmmakers Walt Disney, Roberto Benigni, Luigi Comencini, Vittorio De Sica, and Pino Zac transform three fairytale novels into motion pictures. The texts under consideration are Carlo Collodi's The Adventures of Pinocchio, which inspired adaptations by Disney, Benigni, and Comencini. Toto the Good, whose author Cesare Zavattini, collaborated with De Sica to bring the story to the screen in Miracle in Milan, and Calvino's The Non-Existent Knight, realized as a motion picture in 1969 by Zac.

ISBN: 9780542953729Subjects--Topical Terms:

854529
Cinema.

The enchanted screen: The Italian fairytale and adaptation.
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245 1 4 $a The enchanted screen: The Italian fairytale and adaptation.
300 $a 276 p.
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500 $a Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4199.
502 $a Thesis (Ph.D.)--The Johns Hopkins University, 2007.
520 $a Italian cinema critics rarely explore the metamorphoses of that nation's acclaimed fairytales into film. This study examines how filmmakers Walt Disney, Roberto Benigni, Luigi Comencini, Vittorio De Sica, and Pino Zac transform three fairytale novels into motion pictures. The texts under consideration are Carlo Collodi's The Adventures of Pinocchio, which inspired adaptations by Disney, Benigni, and Comencini. Toto the Good, whose author Cesare Zavattini, collaborated with De Sica to bring the story to the screen in Miracle in Milan, and Calvino's The Non-Existent Knight, realized as a motion picture in 1969 by Zac.
520 $a How the filmmaker chooses to reproduce the narrative structure of the adapting text in his own work is paramount. However, factors external to the source material also play a role in determining how a director envisions a literary work on screen. The fairytale's structure follows the paradigm set forth by Vladimir Propp in The Morphology of the Folktale. Therefore, this study analyzes how accurately each filmmaker reproduces the network of functions present in the three fairytales according to Propp's theories. While this will doubtlessly illuminate how the adaptations in question differ from their source material, it will not explain why. Towards that end, this dissertation also considers some of the external factors that shape the adaptations under analysis.
520 $a Screenplays, much like fairytales, adhere to a rigid formula consisting of a beginning, in which a conflict arises, a middle wherein the characters attempt to confront the problem at hand until their behavior provokes a crisis, and an end that witnesses the resolution of the crisis. Any event that does not lead directly towards the story's resolution becomes unnecessary. Hence, adaptors of fairytales will eliminate those functions that do not influence the tale's outcome. They also change auxiliary elements, which constitute physical descriptions and motivations.
520 $a None of the five adaptations in this study completely replicates the functions identifiable in each of their source novels. The filmmakers in question rely on factors external to their source texts to yield their own interpretation of the story at hand so as to avoid producing a mere illustration of another author's work.
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