Fantasy Fiction Into Film: EssaysLeslie Stratyner, James R. Keller McFarland, Incorporated, Publishers, 18 Jul 2007 - 197 halaman This work examines the symbolism of fantasy fiction, literal and figurative representation in fantastic film adaptations, and the imaginative differences between page and screen. Essays focus on movies adapted from various types of fantasy fiction--novels, short stories and graphic novels--and study the transformation and literal translation from text to film in the Lord of the Rings, The Chronicles of Narnia, Charlie and the Chocolate Factory, Howl's Moving Castle, Finding Neverland, The Wizard of Oz, Wicked and Practical Magic. |
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Halaman 71
... present ; it has a meaning all its own , and its significance resonates in our own world . Jackson's vision is rooted very much in the present , focused so that the broad expanse of history has significance only in how it relates to the ...
... present ; it has a meaning all its own , and its significance resonates in our own world . Jackson's vision is rooted very much in the present , focused so that the broad expanse of history has significance only in how it relates to the ...
Halaman 74
... present in their England , albeit under another name . This idea of pre - ordination and divine destiny is one that is prevalent through- out Lewis ' Narnia books , reflective of his own deeply - held Christian faith . In the movie ...
... present in their England , albeit under another name . This idea of pre - ordination and divine destiny is one that is prevalent through- out Lewis ' Narnia books , reflective of his own deeply - held Christian faith . In the movie ...
Halaman 159
... present counterfoil - not a par- odic fop — to the ease and forgetfulness of Peter himself . In the second case ... present ; first , it allows for a seemingly more passionate Barrie who may see Sylvia in a romantic rather than purely ...
... present counterfoil - not a par- odic fop — to the ease and forgetfulness of Peter himself . In the second case ... present ; first , it allows for a seemingly more passionate Barrie who may see Sylvia in a romantic rather than purely ...
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Fantasy Fiction into Film | 1 |
Peter Jacksons Film | 21 |
The Grammar of Middleearth | 35 |
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adaptation Allsburg Aragorn argues Arwen Aslan audience Bakshi Banks Barrie Barrie's Baum's Bert Bilbo Boorman Boromir Bucket Burton's film C.S. Lewis characters Charlie Charlie's child Chocolate Factory cinematic clauses Conkling critics cultural Dahl's novel Edited Edmund Elphaba epic Essays evil fantasy Fellowship fiction film's Finding Neverland Frodo Gandalf gender Gillian Glinda golden ticket Gollum Gondor grammatical subjects Hero Boy Hero Girl hobbits Howl Howl's Moving Castle imagination Ingary J.R.R. Tolkien Jackson's films Jackson's The Lord Janet Brennan journey king land Lion literary literature Mary Poppins medieval Middle-earth Minas Tirith Miyazaki's Mordor Moria movie Mythopoeic Press Narnia narrative never Oompas Peter Jackson's Peter Pan play plot Polar Express Rings Rohan role Sally Santa Saruman says scene screen script sense shot Sophie story Stuart's Sylvia tells theme Theoden tion Tolkien's transformation visual Wardrobe Wendy Wicked Witch Wizard of Oz Wonka