Retrovisions: Reinventing the Past in Film and Fiction by I. Q. Hunter, Deborah Cartmell, Imelda Whelehan
By I. Q. Hunter, Deborah Cartmell, Imelda Whelehan
The members to Retrovisions examine what occurs to historical past within the videos. targeting motion pictures and texts from the Nineteen Fifties to the Nineties, the members argue that the previous has continually come to us by way of method of past texts and culturally bounded aesthetic different types, and that heritage motion pictures - to the melancholy of historians - have continually taken a 'postmodern' method of their topic, seeing the prior as a dynamic source for stimulating tales and poetic, morally uplifting untruths. Why do yes many years charm at convinced occasions? And what does the renewal of curiosity in narrative heritage demonstrate approximately our tradition at first of the recent millennium?The authors deal with the diversity of how within which background can be utilized, refashioned and remodeled to mirror present issues - and the way background motion pictures from the previous might be reinterrogated to benefit what they let us know approximately their very own occasions. the flicks mentioned comprise Elizabeth, Shakespeare in Love, Culloden, The Avengers, Titus, and several other diversifications of Les Liaisons Dangereuses, together with merciless Intentions.
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Additional info for Retrovisions: Reinventing the Past in Film and Fiction (Film/Fiction)
Michael Bristol argues in Big-Time Shakespeare that: ‘Commercial profit rather than a wish to guarantee the durable public value of Shakespeare is the motive that best accounts for the diverse enterprises of ... ’5 Certainly Shakespeare in Love was produced for commercial profit; yet I would argue that ‘durable public value’ ensures ‘commercial profit’, and vice versa. The two factors are involved in a highly symbiotic relationship; therefore, the film both produces profit and perpetuates Shakespeare’s public value.
14. See Hodgdon; Sharon Ouditt, ‘Orlando: coming across the divide’, in Deborah Cartmell and Imelda Whelehan (eds), Adaptations: from text to screen, screen to text (London: Routledge, 1999), pp. 146–56. 15. Virginia Woolf, Orlando (1928; San Diego: Harvest/HBJ, 1956), p. 22. 16. Woolf, p. 27. 17. 2–9. All references to The Faerie Queene are taken from the Longman edition, ed. C. Hamilton (London and New York: Longman, 1977). 18. Ouditt, p. 155. 19. 1–7. 20. Woolf, p. 24. 21. 1–9. 22. com>. 23.
125, issue 22, Academic Search Elite, Ebscohost, 20 May 2000. 38. Levin, Elizabeth, p. 4. 39. html>, para. 6. 40. William Shakespeare, Henry V, ed. 224–27. 41. shtml>. 42. Marc Norman and Tom Stoppard, Shakespeare in Love: A Screenplay (New York: Miramax Books/Hyperion, 1998), p. 155. 43. Williams, para. 2. 44. Christopher Hibbert, The Virgin Queen: Elizabeth I, genius of the Golden Age (Reading, Massachusetts: Addison-Wesley, 1991), p. 78. 3 Shakespeare in Love and the End(s) of History Elizabeth Klett The opening of John Madden’s Shakespeare in Love sets up a distinct historical period: the year is 1593, the audience has entered ‘the glory days of the Elizabethan theatre’,1 and is presented with the character of Will Shakespeare.