Intermediality in the Novel and the Film Cold Mountain
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This paper examines the intermediality in the novel and the film Cold Mountain. Because of its external structure of The Odyssey, Frazier's Cold Mountain in 1997 has a variety of feminine and natural elements signifying the healing power which cannot be easily found in most of the Civil War novels. It is noticeable that Frazier's rendering of women characters in relation to nature shares common ground with the film version of the novel. A wounded and traumatized deserter Inman, who experiences the healing touch of female figures such as Maddy and Sara as well as Ada, could heal his physical wound and devastated spirit. Like a poet, Minghella creates a new visual poetry Cold Mountain in 2003 by using his representative “ellipsis” technique derived from the film's “own vocabulary.” Featuring the unique adaptation and poetic images transformed from the novel, the film can be read as a new creative work. Minghella's unique adaptation and image are revealed from the opening sequence of the film, especially in the Petersburg battle sequence. The film's uniqueness is manifested in a young character named Oakley who is absent in the novel. Most of all, the scene which represents the war widow Sara's outrage and shooting to kill a soldier is unforgettable. The last sequence of the film after Inman's death best epitomizes Minghella's creativity distinguished from the novel. Minghella offers Inman's Arcadian dream more effectively by naming Ada's nine-year-old daughter Inman. Ultimately, we can deeply understand the richness of intermediality by transcending the bounds of genres and media.
Abstract
This paper examines the intermediality in the novel and the film Cold Mountain. Because of its external structure of The Odyssey, Frazier's Cold Mountain in 1997 has a variety of feminine and natural elements signifying the healing power which cannot be easily found in most of the Civil War novels. It is noticeable that Frazier's rendering of women characters in relation to nature shares common ground with the film version of the novel. A wounded and traumatized deserter Inman, who experiences the healing touch of female figures such as Maddy and Sara as well as Ada, could heal his physical wound and devastated spirit. Like a poet, Minghella creates a new visual poetry Cold Mountain in 2003 by using his representative “ellipsis” technique derived from the film's “own vocabulary.” Featuring the unique adaptation and poetic images transformed from the novel, the film can be read as a new creative work. Minghella's unique adaptation and image are revealed from the opening sequence of the film, especially in the Petersburg battle sequence. The film's uniqueness is manifested in a young character named Oakley who is absent in the novel. Most of all, the scene which represents the war widow Sara's outrage and shooting to kill a soldier is unforgettable. The last sequence of the film after Inman's death best epitomizes Minghella's creativity distinguished from the novel. Minghella offers Inman's Arcadian dream more effectively by naming Ada's nine-year-old daughter Inman. Ultimately, we can deeply understand the richness of intermediality by transcending the bounds of genres and media.
참고문헌 (20)
- "Cold Mountain" (2003)[URL]
- Barrett, Jenny, "Shooting the Civil War: Cinema, History and American National Identity" (2009), I. B. Tauris
- Bazin, André, "What is Cinema?" (1971), U of California P
- Beja, Morris, "Film and Literature : An Introduction" (1979), Longman
- Bleiman, Barbara, "Studying Cold Mountain" (2005), English and Media Centre
- Cold Mountain, "Anthony Minghella" (2003), Mirage Enterprises
- Frazier, Charles, "Cold Mountain" (1998), Random House of Canada
- Frazier, Charles, "Cold Mountain : The Journey from Book to Film" (2003), Newmarket P
- Gibson, Brent, "Cold Mountain as Spiritual Quest: Inman's Redemptive Journey", Christianity and Literature, 55(3), pp.415~433 (2006)
- Gifford, Terry, "Terrain, Character and Text: Is Cold Mountain by Charles Frazier a Post-Pastoral Novel", Mississippi Quarterly, 55, pp.87~97 (2001)
- Herman, Judith, "Trauma and Recovery : The Aftermath of Violence" (1992), BasicBooks
- Knoke, P, "Cold Mountain in Time and Space", North Carolina Literary Review, 8, pp.20~28 (1998)
- "Mountain’ Tops" (2003)[URL]
- Minghella, Anthony, "Introduction, In Cold Mountain: The Journey from Book to Film", pp.11~17 (2003), Newmarket P
- Petho, Agnes, "Cinema and Intermediality : The Passion for the In-Between" (2011), Cambridge Scholars Publishing
- Plett, Heinrich F, "Intertextuality" (1991), de Gruyter
- Richardson, Robert, "Literature and Film" (1969), Indiana UP
- Strauss, Tracy L, "Trauma's Dialectic in Civil War Literature and Film", pp.206~224 (2008), War, Literature & the Arts
- Wilkie, Curtis, "Charles Frazier’s Confederate Odyssey" (1997), Boston Globe
- Way, Albert, "A World Properly Put Together: Environmental Knowledge in Charles Frazier's Cold Mountain", Southern Cultures, (Winter), pp.33~54 (2004)