Film Phenomenology and Adaptation

Film Phenomenology and Adaptation

Sensuous Elaboration

Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation's source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.
  • Cover
  • Table of Contents
  • Acknowledgements
  • Introduction: A ‘Fleshly Dialogue’
    • If Only You Could See What I’ve Seen with Your Eyes
    • Fuzzy and Sticky: The Stigma of Subjective Impressionism in Adaptation Studies
    • Beyond ‘Intertextual Dialogism’: Phenomenology, Film, and a ‘Fleshly Dialogue’
    • Corpus
    • Works Cited
  • 1. Grave Visions: Visual Experience and Adaptation
    • Introduction: Eye-Opener
    • Visible and Visible: The ‘Carnal Density of Vision’
    • Early Cinema Aesthetics as an Attractive Possibility for Screen Adaptation
    • Draped in Shadow: Murnau’s Nosferatu
    • Glittering Night: Francis Ford Coppola’s Bram Stoker’s Dracula
    • Conclusion: Out of Sight
    • Works Cited
  • 2. Resonance and Reverberation: Sounding Out Screen Adaptation
    • Prelude
    • Acoustic Shape and the Sonic Wizardry of Screen Sound
    • Listening to the Voice’s ‘Acoustic, Sensuous Impression’
    • Heart of Glass: Rendering the Sounds of Depression in The Hours
    • Alienated Language: Under the Skin
    • Final Note
    • Works Cited
  • 3. Textural Analysis: Touching Adaptation
    • Introduction: Scratching the Surface
    • Skin and Bone: Fleshing Out Tactile Experience in Film Theory
    • ‘Thumbprints’ and an ‘Irritating’ Performance: In the Cut’s ‘Tactile Orientation’
    • A Touching Sight: Embodied Voyeurism
    • Conclusion: Final Touch
    • Works Cited
  • 4. Textures of Imagination
    • Introduction: From Sight to Insight
    • Wonder, at the Limits of Adaptation Studies
    • Wonder, Make-Believe, and Simulation: Cognitive Approaches to Imagination
    • Embodied Imagination and Intercorporeality: Mind the (‘Epistemic’) Gap!
    • Inside-Out and Upside-Down: Mood Indigo’s Existential Feelings
    • A Cute Grief: Feeling Blue in Mood Indigo
    • Conclusion: From Percept to Precept
    • Works Cited
  • 5. (Re-)Mediating Memory’s Materiality
    • Introduction: Tracing Memory’s Role in Adaptation
    • Untangling the ‘Thick’ Tissue of Memory
    • Textu(r)al Traces: Memory in Literature and Film
    • Straight-Laced: The Danish Girl, in Transition
    • Poison’s ‘Ambivalent Aesthetic’ of Memory
    • Conclusion: The ‘Pressure of the Past’, Pushing Towards the Future
    • Works Cited
  • Conclusion: Body Language
    • Arriving at an Embodied Theory of Adaptation
    • Departures: Towards an ‘Ethics of Adaptation’
    • Works Cited
  • Bibliography
  • Filmography
  • Index



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