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Transformations: Schnitzler's drama...

Zheng, Aili.

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Transformations: Schnitzler's drama from print to stage and film.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Transformations: Schnitzler's drama from print to stage and film./
作者:	Zheng, Aili.
面頁冊數:	327 p.
附註:	Advisers: Rainer Nagele; Rudiger Campe.
Contained By:	Dissertation Abstracts International67-04A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3213845
ISBN:	9780542645549

Transformations: Schnitzler's drama from print to stage and film.
Zheng, Aili.

Transformations: Schnitzler's drama from print to stage and film. - 327 p.

Advisers: Rainer Nagele; Rudiger Campe.

Thesis (Ph.D.)--The Johns Hopkins University, 2006.

As artifacts such as literary texts circulate in various discourses, they play an important role in the negotiations of cultural identity and in the course of such interactions they themselves undergo transformations that involve technical constraints of each medium, representational conventions, as well as cultural affinities. Each transformed text thus resembles a palimpsest of inscribed medial characteristics and cultural practices. In my media-historical study I consider the complex processes that shape literary source texts for performance in the theater, projection in the cinema and review in newspapers.

ISBN: 9780542645549Subjects--Topical Terms:

854529
Cinema.

Transformations: Schnitzler's drama from print to stage and film.
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245 1 0 $a Transformations: Schnitzler's drama from print to stage and film.
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500 $a Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1356.
502 $a Thesis (Ph.D.)--The Johns Hopkins University, 2006.
520 $a As artifacts such as literary texts circulate in various discourses, they play an important role in the negotiations of cultural identity and in the course of such interactions they themselves undergo transformations that involve technical constraints of each medium, representational conventions, as well as cultural affinities. Each transformed text thus resembles a palimpsest of inscribed medial characteristics and cultural practices. In my media-historical study I consider the complex processes that shape literary source texts for performance in the theater, projection in the cinema and review in newspapers.
520 $a Transformations involve sampling a source and then adjusting the embedment of the selection in a host text by, for example, inserting intertexts, modifying connotations or making deletions. My primary sources for this project are Arthur Schnitzler's dramas Liebelei (1895) and Der junge Medardus (1910), his journals and collected correspondence, the film adaptations of Mihaly Kertesz (Michael Curtiz) and Max Ophuls, newspaper reviews of the premieres of both the dramas and films.
520 $a Kertesz turned the complex stage production of Der junge Medardus into a sweeping epic. Such films derive their effect primarily from the novelty and grandeur of display rather than from any narrative to follow or meaning to be decoded. The melodramatic story of Medardus is transformed into an episode in the grand march of history with the authoritative aura of Napoleon in the added narrative frame.
520 $a It has become a cliche that Schnitzler's early dramas on amatory dalliance capture the spirit of turn-of-century Vienna. Schnitzler's journal and Lily Braun's study of the situation of women at the end of the nineteenth century indicate, however, that the stereotype of the "susse Madel [sweet young woman]" is unexpectedly complex. I consider the transformative process that Schnitzler applied to the historical data in writing his drama and the approach that Max Ophuls in turn used for his film. His adaptation of Liebelei can be taken as a film about turn-of-century Vienna, but its musical intertexts from pop culture to opera allow it to be read as a critique of the Berlin of the early thirties.
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