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Back through the Looking-Glass

Back through the Looking-Glass. HUM 2250: Film Adaptation Summer 2011 Dr. Perdigao May 26, 2011. Foundations. Cinema, movie, film Kinein (Greek, to move) (Dick 2) Textum (Latin, “that which has been woven”) (2) Late 19 th century: kinetoscopes (3)

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Back through the Looking-Glass

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  1. Back through the Looking-Glass HUM 2250: Film Adaptation Summer 2011 Dr. Perdigao May 26, 2011

  2. Foundations Cinema, movie, film Kinein (Greek, to move) (Dick 2) Textum (Latin, “that which has been woven”) (2) Late 19th century: kinetoscopes (3) http://www.youtube.com/watch?v=UrRUDS1xbNs&feature=related http://www.youtube.com/watch?v=mIkLok-BYIk

  3. Foundations Recording image to recreating it, telling a story Lumière brothers photographed actualités in France (1895); Méliès A Trip to the Moon (1902) http://www.youtube.com/watch?v=4nj0vEO4Q6s E. S. Porter’s The Great Train Robbery (1903): http://www.youtube.com/watch?v=aRBi08Z00Ec&feature=watch-now-button&wide=1

  4. Diversifying Idea of beginning, middle, ending Time-space relationships (5) Time Code (2000), use of juxtaposition (6) Running time versus movie time (6, 8); movie time as “elastic” Simultaneity Independent film and international film (9) Indies Specialty divisions—United Artists (UA), MGM; Focus Features, Universal; Fox Searchlight Pictures, Twentieth-Century Fox; Paramount Vantage, Paramount Pickups

  5. Development Deals The Blair Witch Project (1999), Artisan (Lions Gate), 16 mm cameras, cost of $30,000, grossed $140 million 1950s decline in American movie business (14) 3-D movies introduced; Bwana Devil (1952) as first Change in aspect ratio Influence of Italian neorealism

  6. Perspectives Roland Barthes’ S/Z, idea of reader as “producer of the text” (qtd. in Dick 269) Idea that “film cannot do what a novel or a short story can, and vice versa” (269) Literary techniques: flashback; flash-forward; point of view Flashback: slow fade-out/fade-in, dissolve, wipe, quick cut Flash-forward: prolepsis, “a rhetorical technique in which a speaker anticipates—and answers—an objection before it has even been raised” (271-2).

  7. Point of View First-person, “I” and “eye”; subjective camera; slasher film Omniscient narrator, third person, moves from place to place, time to time, character to character, disclosing or concealing details at will (273) Choice of a “center of consciousness,” “reflector” (274) Implied author, impersonal

  8. Framing Nick Willing, writer/director Neverland (2011, post-production) Alice (TV miniseries, 2009) Tin Man (TV miniseries, 2007) Alice in Wonderland (TV movie, 1999) Photographing Fairies (1997) Tim Burton, director; (Linda Woolverton, screenplay) Producer: Abraham Lincoln: Vampire Hunter (2012, filming); 9 (2009); The Nightmare Before Christmas (1993) Director: Frankenweenie (2012, filming); Alice in Wonderland (2010); Sweeney Todd: The Demon Barber of Fleet Street (2007); Corpse Bride (2005); Charlie and the Chocolate Factory (2005); Big Fish (2003); Planet of the Apes (2001); Sleepy Hollow (2000); Batman Returns (1992); Edward Scissorhands (1990); Batman (1989); Beetlejuice (1988); Pee-Wee’s Big Adventure (1985)

  9. Mirroring Jacques Lacan’s “The Insistence of the Letter in the Unconscious” “Is what thinks in my place then another I?” (82) Mirror stage as child experiences in play “the relation between the movements assumed in the image and the reflected environment, and between this virtual complex and the reality it reduplicates” (Lacan, “Mirror Stage” 1) Creates a fiction in which the subject forms a “succession of phantasies that extends from a fragmented body-image to a form of its totality,” only to end with the “assumption of the armour of an alienating identity” (4). Fragmented body image reminder of incompletion: “the fragmented body . . . usually manifests itself in dreams” (“Mirror Stage” 4), “phantasies of what he might become” (Payne 32). For Roderick McGillis, this image is “a reversed image of the self that appears to be someone else and yet is discernibly the self” (42).

  10. Mirroring Christian Metz’s “Identification, Mirror”—Lacan’s Mirror Stage in film: “In order to understand the fiction film, I must both ‘take myself’ for the character (= an imaginary procedure) so that he benefits, by analogical projection, from all the schemata of intelligibility that I have within me, and not take myself for him (= the return of the real) so that the fiction can be established as such (= as symbolic): this is seeming-real. Similarly, in order to understand the film (at all), I must perceive the photographed object as absent, its photograph as present, and the presence of this absence as signifying. The imaginary of the cinema presupposes the symbolic, for the spectator must first of all have known the primordial mirror. But as the latter instituted the ego very largely in the imaginary, the second mirror of the screen, a symbolic apparatus, itself in turn depends on reflection and lack. However, it is not fantasy, a ‘purely’ symbolic-imaginary site, for the absence of the object and the codes of that absence are really produced in it by the physis of an equipment: the cinema is a body (a corpus for the semiologist), a fetish that can be loved.” (28)

  11. Reversals Alice through the looking-glass Alice’s Adventures in Wonderland: “Then the words don’t fit you” (96). Ideas about language through the mirror stage, question if this Alice is “real” (145) May 4—Alice’s birthday, 7 ½ in Through the Looking-Glass; day occurring November 4 Begins with make-believe, play: “Let’s pretend that you’re the Red Queen, Kitty” (110). Constructing the house: “Now, if you’ll only attend, Kitty, and not talk so much, I’ll tell you all my ideas about Looking-glass House” (110). “Well then, the books are something like our books, only the words go the wrong way: I know that, because I’ve held up one of our books to the glass, and then they hold up one in the other room” (110).

  12. O Frabjous Day! “Jabberwocky” and ideas about language (116) As a “looking-glass book” “It’s seems very pretty. . . but it’s rather hard to understand!” “Somehow it seems to fill my head with ideas—only I don’t exactly know what they are! However, somebody killed something: that’s clear, at any rate—” (118). Humpty Dumpty’s reading, ability to “explain all the poems that ever were invented—and a good many that haven’t been invented just yet” (164). Slithy, lithe and slimy Idea that names reflect the nature of what they name; Alice’s name lost, meaningless? “When I use a word . . . It means just what I choose it to mean—neither more nor less” (163), question of words being arbitrary

  13. Cinematography? Revising Tim Burton: White Queen’s line following Alice’s line “one ca’n’t believe impossible things” (153): “When I was your age, I always did it for half-an-hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast” (153). Retelling of the story—flash-forward [Alice telling the history of “all this” (139) to her sister; “so Alice explained it afterwards” (156)] Theatrical pantomimes in “Wool and Water” (153) Problem with memory in Wonderland, for two adaptations

  14. Adapting http://fashionablycurious.blogspot.com/2009/12/vogues-wonderland.html http://www.youtube.com/watch?v=Re0_zjKvpT8 http://video.syfy.com/movies_events/alice/behind_the_scenes_4/through-the-looking-glass/v1182152 Science fiction in the 1960s, as setting 2001: A Space Odyssey; Dr. Strangelove; Planet of the Apes

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