Stuart Y. McDougal

Horton Andrew

Stanley Kubrick's 'A Clockwork Orange' brings together new and critically informed essays about one of the most powerful, important and controversial films ever made. Following an introduction that provides an overview of the film and its production history, a suite of essays examine the literary origins of the work, the nature of cinematic violence, questions of gender and the film's treatment of sexuality, and the difficulties of adapting an invented language ('nadsat') for the screen. This volume also includes two contemporary and conflicting reviews by Roger Hughes and Pauline Kael, a detailed glossary of 'nadsat' and stills from the film.

Stanley Kubrick's A Clockwork Orange

This book enables students to investigate some of the principal elements shared by literature and film in order to achieve a better understanding of each. Through a study of adaptations, students are able to examine the differences between the media, and thus become more knowledgeable readers of fiction as well as more perceptive viewers of film.

From Literature to Film

Made Into Movies

Andrew Horton

This title was originally published in 1998. Play It Again, Sam is a timely investigation of a topic that until now has received almost no critical attention in film and cultural studies: the cinematic remake. As cinema enters its second century, more remakes are appearing than ever before, and these writers consider the full range: Hollywood films that have been recycled by Hollywood, such as The Jazz Singer, Cape Fear, and Robin Hood; foreign films including Breathless; and Three Men and a Baby, which Hollywood has reworked for American audiences; and foreign films based on American works, among them Yugoslav director Emir Kusturica's Time of the Gypsies, which is a "makeover" of Coppola's Godfather films. As these essays demonstrate, films are remade by other films (Alfred Hitchcock went so far as to remake his own The Man Who Knew Too Much) and by other media as well. The editors and contributors draw upon narrative, film, and cultural theories, and consider gender, genre, and psychological issues, presenting the "remake" as a special artistic form of repetition with a difference and as a commercial product aimed at profits in the marketplace. The remake flourishes at the crossroads of the old and the new, the known and the unknown. Play It Again, Sam takes the reader on an eye-opening tour of this hitherto unexplored territory. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1998.

Retakes on Remakes

Play It Again, Sam

The world of the troubadours of medieval Provence—of Bertran de Born, Arnaut de Mareuil, and Peire Bremon lo Tort—always fascinated Ezra Pound and, as Stuart McDougal shows, provided both themes and techniques for his early poetry. Pound's first translations of Provençal poetry were a way of penetrating an alien sensibility and culture and making it his own; they were also important technical exercises. Confronted with the problem of finding a suitable form and language for the Provencal experience, he condensed, deleted, expanded—the results were highly original works. Among Pound's early experiments were the studies of individual Provencal poets, each representing one of the qualities of Provençal culture that attracted him—Bertran is the man of action and Vidal is an example of the close connection between man and the "vital universe." Implicit in Pound's treatment of the past is his belief in the contemporaneity of these medieval values. This belief remains constant in The Cantos, although as the work developed it became clear that no single cultural framework could encompass it. Nevertheless, the medieval world remained the cornerstone of Pound's paradise—a brilliantly unified, vibrant world against which he could contrast the chaos and sterility of contemporary civilization. Originally published in 1973. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Ezra Pound and the Troubadour Tradition

Play It Again, Sam is a timely investigation of a topic that until now has received almost no critical attention in film and cultural studies: the cinematic remake. As cinema enters its second century, more remakes are appearing than ever before, and these writers consider the full range: Hollywood films that have been recycled by Hollywood, such as The Jazz Singer, Cape Fear, and Robin Hood; foreign films including Breathless; and Three Men and a Baby, which Hollywood has reworked for American audiences; and foreign films based on American works, among them Yugoslav director Emir Kusturica's Time of the Gypsies, which is a "makeover" of Coppola's Godfather films. As these essays demonstrate, films are remade by other films (Alfred Hitchcock went so far as to remake his own The Man Who Knew Too Much) and by other media as well. The editors and contributors draw upon narrative, film, and cultural theories, and consider gender, genre, and psychological issues, presenting the "remake" as a special artistic form of repetition with a difference and as a commercial product aimed at profits in the marketplace. The remake flourishes at the crossroads of the old and the new, the known and the unknown. Play It Again, Sam takes the reader on an eye-opening tour of this hitherto unexplored territory. Play It Again, Sam is a timely investigation of a topic that until now has received almost no critical attention in film and cultural studies: the cinematic remake. As cinema enters its second century, more remakes are appearing than ever before, and these writers consider the full range: Hollywood films that have been recycled by Hollywood, such as The Jazz Singer, Cape Fear, and Robin Hood; foreign films including Breathless; and Three Men and a Baby, which Hollywood has reworked for American audiences; and foreign films based on American works, among them Yugoslav director Emir Kusturica's Time of the Gypsies, which is a "makeover" of Coppola's Godfather films. As these essays demonstrate, films are remade by other films (Alfred Hitchcock went so far as to remake his own The Man Who Knew Too Much) and by other media as well. The editors and contributors draw upon narrative, film, and cultural theories, and consider gender, genre, and psychological issues, presenting the "remake" as a special artistic form of repetition with a difference and as a commercial product aimed at profits in the marketplace. The remake flourishes at the crossroads of the old and the new, the known and the unknown. Play It Again, Sam takes the reader on an eye-opening tour of this hitherto unexplored territory.

Stuart Y. McDougal

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