The Photoplay As Literary Art

Met ind. - Ook aanwezig als facsimile-herdr.: New York : Arno [etc.], 1970. - 283, [18] p. : ill. ; 22 cm . - (Literature of cinema, The). ISBN 0-405-01612-3. - ISBN 0-404-1600-X (complete set).

Hugo Munsterberg was born into a merchant family in Danzig (now Gdansk, Poland), then a port city in West Prussia. His father Moritz (1825-1880), was a successful lumber merchant and his mother, Minna Anna Bernhardi (1838-1875), a recognized artist and musician, was Moritz's second wife. Moritz had two sons with his first wife, Otto (1854-1915) and Emil (1855-1915), and two with Anna, Hugo (1863-1916) and Oscar (1865-1920). The four sons remained close, and all of them became successful in their careers. A neo-Renaissance villa in Detmold, Germany, that Oscar lived in from 1886-1896 has recently been renovated and opened as a cultural center. The family had a great love of the arts, and Munsterberg was encouraged to explore music, literature, and art. Both his mother and his father died before he was 20 years old. When he was 12, his mother died. This marked a major change in the young boy's life, transforming him from a carefree child to a much more serious young man. Then in 1880 his father also died."

Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and its ontological nature is determined collectively by both writers and readers of screenplays. Any plausible philosophical account of the screenplay must be strictly constrained by our collective creative and appreciative practices, and must recognize that those practices indicate that at least some screenplays are artworks.

In The Art of Adapting Victorian Literature, 1848-1920, Karen E. Laird alternates between readings of nineteenth-century stage and twentieth-century silent film adaptations to investigate the working practices of the first adapters of Victorian fiction. Laird’s juxtaposition between stage and screen brings to life the dynamic culture of literary adaptation as it developed throughout the long nineteenth-century. Focusing on Charlotte Brontë’s Jane Eyre, Charles Dickens’s David Copperfield, and Wilkie Collins’s The Woman in White, Laird demonstrates how adaptations performed the valuable cultural work of expanding the original novel’s readership across class and gender divides, exporting the English novel to America, and commemorating the novelists through adaptations that functioned as virtual literary tourism. Bridging the divide between literary criticism, film studies, and theatre history, Laird’s book reveals how the Victorian adapters set the stage for our contemporary film adaptation industry.

Excerpt from The Technique of the Photoplay: Second Edition The Technique of the Photoplay: Second Edition was written by Epes Winthrop Sargent in 1913. This is a 185 page book, containing 78763 words. Search Inside is enabled for this title. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Modern Photoplay Writing, Its Craftsmanship: A Manual Demonstrating the Structural and Dramatic Principles of the New Art as Practiced by the Modern Photoplaywright The rise of the photoplay in the past decade to the position of an individual art related to the drama in structure but unique upon its pictorial side was foreseen by those who followed its mutations from the period of inception. From the point of view of the screen author the change in attitude of those who control the industry toward the Contributor of screenable stories has undergone a complete cycle, ranging from the day of borrowed material, rehashed from standard literature by some studio hireling, to the day of the original photoplay written directly for the screen by an author whose importance is recog nized. N 0 other allied art can cite a growth more revolutional, although no other allied art exhibited in its early history a greater contempt for the author and his stock in trade. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.