“스크린 속의 건포도”: 핸스베리의 『햇볕 속의 건포도』(A Raisin in the Sun) 영화 각색 연구
A Raisin in the Screen: A Study of Film Adaptation of Hansberry’s A Raisin in the Sun
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Blacks peoples increasingly demanded realistic screen images. As the works of black writers realized the experience of black people more fully and more sympathetically, film-makers looked into the works as the basis for their productions. When black writers’ works, however, were adapted as motion pictures, they were often reworked for mainstream audience so that much of their cultural and idiosyncratic importance was lost and/or downsized. A Raisin in the Sun, Lorraine Hansberry’s most distinguished work, was twice adapted into films, by Daniel Petrie in 1961 and by Bill Duke in 1989. These two films seemed to be faithful to the original text, but were not escaped from the Hollywood’s commercial conspiracy. This shows how hard the black films represent the blacks in the real environment and how subtle and cunning the racism in the screens is.
Abstract
Blacks peoples increasingly demanded realistic screen images. As the works of black writers realized the experience of black people more fully and more sympathetically, film-makers looked into the works as the basis for their productions. When black writers’ works, however, were adapted as motion pictures, they were often reworked for mainstream audience so that much of their cultural and idiosyncratic importance was lost and/or downsized. A Raisin in the Sun, Lorraine Hansberry’s most distinguished work, was twice adapted into films, by Daniel Petrie in 1961 and by Bill Duke in 1989. These two films seemed to be faithful to the original text, but were not escaped from the Hollywood’s commercial conspiracy. This shows how hard the black films represent the blacks in the real environment and how subtle and cunning the racism in the screens is.
참고문헌 (15)
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- "Petrie, Daniel, dir. A Raisin in the Sun. With Sidney Poitier and Claudia McNeill. Columbia Pictures", ~ (1961)
- Pines, Jim, "Blacks in Films: A Survey of Racial Themes and Images in the American Film", pp.1975, Studio Vista
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