Stage and Screen

Stage and Screen : Adaptation Theory from 1916 to 2000

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This title includes classic and new essays examining the historical, cultural, and aesthetic relationships between theater and film. Far too often young theater and film artists, as well as educators, make the jump from film to theater without being fully aware of the ways in which the qualities of each medium affect content and artistic expression. Starting with a history of the relationship between theater and film, the collection includes essays from a variety of writers, directors, and theorists by examining the differences between working in, and creating for, drama and film. The playwright Bernard Shaw looks at the ways in which the differences between the two industries, audiences, and writing processes affect the author's artistic control. Critic-theorists like Siegfried Kracauer and Susan Sontag consider the similarities and differences that arise from the intrinsic qualities of each medium, touching on structure, technique, and dialogue, as well as audience experience. Professor Cardullo's collection provides a theoretical and practical foundation for understanding the effect that film and drama have had, and continue to have, on each other's more

Product details

  • Hardback | 288 pages
  • 157.48 x 231.14 x 22.86mm | 612.35g
  • Continuum Publishing Corporation
  • New York, United States
  • English
  • New.
  • 10 bw illustrations
  • 1441168699
  • 9781441168696

About Bert Cardullo

Bert Cardullo is Professor of Media and Communication at the Izmir University of Economics in Turkey. His books include Bazin at Work, Federico Fellini: Interviews, Jean Renoir: Interviews, and Vittorio De Sica: Director, Actor, more

Review quote

In this important anthology, Bert Cardullo reminds us that film 'theory' stems not just from the familiar poststructuralist philosophies, but from tragically neglected essays such as Erwin Panofsky's "Style and Medium in the Motion Pictures." Rudolph Arnheim's "new Laocoon" provides this fascinating book's allegorical key, charting a way from Gotthold Lessing's 18th century to the founding of Literature/Film Quarterly by Thomas Erskine and James Welsh, coaxing a new generation of scholars to revisit our core methods for thinking about one art medium's relationship to the other. Walter Metz, Professor and Chair, Department of Cinema and Photography, Southern Illinois University Carbondaleshow more

Table of contents

Introduction; Chapter 1: Vachel Lindsay, "Thirty Differences Between the Photoplays and the Stage" (1916); Chapter 2: Hugo Munsterberg, "The Means of the Photoplay" (1916); Chapter 3: Bernard Shaw, "The Drama, the Theatre, and the Films" (1925); Chapter 4: Erwin Panofsky, "Style and Medium in the Motion Pictures" (1934); Chapter 5: Rudolf Arnheim, "A New Laocoon: Artistic Composites and the Talking Film" (1938); Chapter 6: Allardyce Nicoll, "Film Reality: The Cinema and the Theatre" (1946); Chapter 7: Andre Bazin, "Theater and Cinema" (1951); Chapter 8: Vsevolod Pudovkin "Stanislavsky's System in the Cinema" (1953); Chapter 9: Josef von Sternberg, "Acting in Film and Theatre" (1955); Chapter 10: Siegfried Kracauer, "The Theatrical Story" (1960); Chapter 11: Tyrone Guthrie, "Movies versus Theatre: The Case for the Theatre" (1962); Chapter 12: Carl Foreman, "Movies versus Theatre: The Case for the Movies" (1962); Chapter 13: Peter Brook, "Finding Shakespeare on Film" (1964); Chapter 14: Susan Sontag, "Film and Theatre" (1966); Chapter 15: Roger Manvell, "Filmmaker, Actor, and Audience; Dramatist, Screenwriter, and Director" (1979); Chapter 16: Hans-Jurgen Syberberg, "Theater and Film, or Adolphe Appia and Me" (1988); Chapter 17: Bert Cardullo, "Playing to the Camera or the House: Stage vs. Screen Acting" (1998); Chapter 18: Thomas Erskine and James Welsh, "Drama into Film" (2000); Bibliography; Filmographies; Biographies; more

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