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Polyphonic screens: A study of Dosto...

Marciano, Emma Patrizia.

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Polyphonic screens: A study of Dostoevsky on film.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Polyphonic screens: A study of Dostoevsky on film./
作者:	Marciano, Emma Patrizia.
面頁冊數:	331 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-05, Section: A, page: 1563.
Contained By:	Dissertation Abstracts International59-05A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=9831739
ISBN:	0591846918

Polyphonic screens: A study of Dostoevsky on film.
Marciano, Emma Patrizia.

Polyphonic screens: A study of Dostoevsky on film. - 331 p.

Source: Dissertation Abstracts International, Volume: 59-05, Section: A, page: 1563.

Thesis (Ph.D.)--New York University, 1998.

This study constitutes the first unified attempt to explore the legacy of Dostoevsky in world cinema. By studying the diverse ways in which this author has been adapted for the screen, my aim is both that of widening the spectrum of critical analysis applied to him, and to help renegotiate the terms of the film versus literature debate.

ISBN: 0591846918Subjects--Topical Terms:

530051
Literature, Comparative.

Polyphonic screens: A study of Dostoevsky on film.
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245 1 0 $a Polyphonic screens: A study of Dostoevsky on film.
300 $a 331 p.
500 $a Source: Dissertation Abstracts International, Volume: 59-05, Section: A, page: 1563.
500 $a Adviser: Jennifer Wicke.
502 $a Thesis (Ph.D.)--New York University, 1998.
520 $a This study constitutes the first unified attempt to explore the legacy of Dostoevsky in world cinema. By studying the diverse ways in which this author has been adapted for the screen, my aim is both that of widening the spectrum of critical analysis applied to him, and to help renegotiate the terms of the film versus literature debate.
520 $a Filmmakers of all nations have engaged in an active dialogue with Dostoevsky's stories: from Hollywood to Hokkaido, from Cinecitta to Paris, Dostoevsky's plots have been recast in a myriad of different spatio-temporal settings while his characters have undergone a variety of historical and personal mutations. While I propose that the highly differentiated approaches filmmakers have adopted to translate Dostoevsky to the screen extend the multivocality that Bakhtin discerned in this author's work, I also suggest that Dostoevsky's "dialogical" practices foreground aspects of narration that bring into question crucial aspects of cinema. Dostoevsky's impatience with linearity and plot, his vocation for circuitous monologues, and his use of time--not as a quantifiable progression but as a qualitatively meaningful experience--all coalesce into a vision of reality which defies traditional literary conventions. Concentrating on the use of spatio-temporal coordinates, on the issues posed by first-person narratives, and on the characterization of women and her voice, this study analyzes five different works by Dostoevsky as brought to the screen by five different filmmakers: Akira Kurosawa, Luchino Visconti, Robert Siodmak, Gary Walkow, and Robert Bresson.
520 $a I suggest that an emphasis on the multicultural, heterogeneous aspect of these cinematic transformations can both encourage a rereading of Dostoevsky and help historicize discussions of film genre. My assumption is that film adaptations need to be studied as culturally situated utterances and that they can contribute to a better understanding of different cinematic cultures precisely by virtue of their common literary source. Since all the films analyzed here provide a highly individual response to Dostoevsky, I have conducted my analysis by adhering to the only criterion which can yield authoritative results, namely the cultural and narrative encounter which each text engenders with individual filmmakers and their different cinematic practices.
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650 4 $a Cinema. $3 854529
650 4 $a Literature, Slavic and East European. $3 1022083
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710 2 0 $a New York University. $3 515735
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790 $a 0146
791 $a Ph.D.
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