Robert Edgar is a Senior Lecturer in Creative Writing in the School of Humanities, Religion and Philosophy at York St John University, with research interests including screenwriting, prose fiction, radio drama, popular music, the practice of film production, short film production and distribution, narratology and the theory and practice of comedy. Author affiliation details are correct at time of print publication.
John Marland is a Senior Lecturer in Literature Studies at York St John University with twenty years of experience using adaptation as an educational tool across a range of the arts and humanities subjects including Literature, Creative Writing and Film & TV Production. Author affiliation details are correct at time of print publication.
...8a) Working between texts
This chapter examines appropriation both as a form of adaptation and as a form in its own right. Appropriation might be loosely described as the taking of a core feature or aspect of a text and then reusing...
...House at Night
We are looking – through the rain-pelted windshield of a parked car – at a small, Spanish-style bungalow. The rattle of driving rain does not quite cover the sound from inside the house of drunken female laughter...
...A Whiskey Tumbler
It sits on an oak bar under a glowing green banker’s lamp. Two ice cubes are dropped in. From elsewhere in the room:
ManoffI’m talkin’ about friendship. I’m talkin’ about character. I’m talkin’ about – hell, Leo, I ain’t...
...At the Bar
Pappi Corsicatto, the Greenwich Village-Italian owner of the club, nods Llewyn over. He is broadly smiling.
Pappi Boy, you were some mess last night.
Llewyn Yeah, sorry, Pappi. I’m an asshole.
Pappi Oh I don’t give a shit. It’s...
It is late; the supermarket is all but deserted. We are tracking in on a fortyish man in Bermuda shorts and sunglasses at the dairy case. He is the Dude. His rumpled look and relaxed manner suggest a man in whom casualness runs...
An opening voice-over plays against dissolving Texas landscapes – broad, bare, and lifeless.
The world is full of complainers. But the fact is, nothing comes with a guarantee. I don’t care if you’re the Pope of Rome,...
...Flare to White
FADE IN FROM WHITE
Slowly the white becomes a barely perceptible image: white particles wave over a white background. A snowfall.
A car bursts through the curtain of snow.
The car is equipped with a hitch and is towing...
...On Barton Fink
He is a bespectacled man in his thirties, hale but somewhat bookish. He stands, tuxedoed, in the wings of a theater, looking out at the stage, listening intently to the end of a performance.
In the shadows behind him an old...
A man in shades.
His sunglasses and the windshield of the car he drives reflect palm trees flashing by on either side. He is well dressed, in his early forties, with a little rat ponytail.
He slows in front of a swank Beverly Hills...
Dror Abend-David is Lecturer at the Department of Languages, Literatures and Cultures at the University of Florida, USA. He is the author of Scorned My Nation: A Comparison of Translations of The Merchant of Venice into German, Hebrew and Yiddish (2003) and the editor of Media and Translation (2014). He has published extensively on translation in relation to media, literature, and Jewish culture. Author affiliation details are correct at time of print publication.
Representing Translation: The Representation of Translation and Translators in Contemporary Media
Bloomsbury Academic, 2019
Multilingual usage in film, summoning a variety of languages, is not new. Already in The Longest Day (1962), viewers are met with full dramatic scenes in French and in German, accompanied by subtitles. A more recent example...
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