Loading, please wait...

product description page

Screening Woolf : Virginia Woolf On/And/in Film (Hardcover) (Earl G. Ingersoll)

Screening Woolf : Virginia Woolf On/And/in Film (Hardcover) (Earl G. Ingersoll) - image 1 of 1

About this item

As the subtitle indicates, this book has three majors concerns. The first and most important concern is an examination of the three film adaptations of Woolf’s novels, To the Lighthouse, Orlando, Mrs. Dalloway in the order in which the films were released. This is the heart of the matter, a fairly conventional effort to acknowledge film reviews as well as the criticism of academicians in film or literature as a starting point for a fresh view of these three film adaptations. Since many film specialists have generally wished that no film was ever adapted from literary fiction and many literature specialists have similarly wished that their favorite novels had never been filmed, the effort to mediate the two “sides” can be challenging.
Of the three films, To the Lighthouse is the least successful, tending toward the old Masterpiece Theater mode of attempting to be “faithful” to the “source text,” to use the term of the film theorist Robert Stam, but missing the essence of the novel. Director Sally Potter’s Orlando is cinematically the most venturesome and attractive, although some Woolf readers condemn Potter’s erasure of Woolf’s intent to celebrate her affair with Vita Sackville-West whose son Nigel Nicolson called it “the longest and most charming love-letter in literature.” Mrs. Dalloway tends toward the Merchant/Ivory style of treating literary masterworks—indeed, the film credits include a debt of gratitude to the producer/director partnership—generally carried by the star power of Vanessa Redgrave, who is difficult to imagine having a crush on another young woman, even at eighteen.
The book’s second concern is Woolf’s large interest in what she would call “the cinema.” As a member of Bloomsbury, she saw and participated in the discussion of the cinema, especially avant-garde films in which she saw more future than in film adaptations, upon which she heaped great scorn for their ravenous, if not rapacious consummation of vulnerable literary fiction such as Leo Tolstoy’s Anna Karenina. Woolf specialists such as Leslie Hankins proclaim her one of the earliest and most significant British film theorists for the brilliant essay “The Cinema” (1925), as film was just beginning to establish itself as an art and not merely a popular entertainment.
The third concern is an complex effort to explore the David Hare/Stephen Daldry film adaptation of Michael Cunningham’s Pulitzer Prize-winning novel The Hours,
Number of Pages: 187
Genre: Performing Arts, Literary Criticism
Format: Hardcover
Publisher: Fairleigh Dickinson Univ Pr
Author: Earl G. Ingersoll
Language: English
Street Date: December 6, 2016
TCIN: 51635110
UPC: 9781611479706
Item Number (DPCI): 248-26-9156
If the item details above aren’t accurate or complete, we want to know about it. Report incorrect product info.
In stock - free standard shipping with REDcard
Not in stores

Prices, promotions, styles and availability may vary by store & online. See our price match guarantee. See how a store is chosen for you.

*See offer details. Restrictions apply. Pricing, promotions and availability may vary by location and at Target.com.