£66.99
£66.99
This collection of essays examines the translation of horror in literature and cinema. Considering authors like H. P. Lovecraft and Stephen King, this volume probes the boundaries between originals and their retellings, revealing how translation is part of the telling of horror.
This collection of essays highlights the varied receptions of horror as a genre, examining a prolific, and constantly evolving, dialogue of literary and cinematic traditions. Specific challenges in translating key authors such as H. P. Lovecraft and Stephen King are considered, alongside aspects of audiovisual translation relating to horror—but also ways in which processes or framing devices of translation may participate in self-aware, multimodal storytelling whereby conventions and forms are updated. Contributors discern the genre’s characteristic porosity that often sees translators work with originals that recycle enduring plots and supernatural figures or cater for younger ages; likewise, the writing, filming and translating of dark narratives regularly combine with practices of adaptation. Of interest to researchers in literary and translation studies, this volume probes the permeable boundaries between originals and their disseminations on the page or the screen, with essays that often help register how translation can be part of the telling, and retelling, of horror.
This pioneering book introduces the “feminine,” a dimension of film not reducible to women’s experience. Exploring this Jungian concept through movies spanning seven decades, it enhances the appreciation of film as a depth psychological medium.
This is the first monograph dedicated to Leonardo da Vinci’s commission for The Virgin of the Rocks, which he painted twice. It opens up Leonardo’s world and unveils the secret realms of human dissection and philosophy that inspired the creation of the painter’s two masterpieces
This wide-ranging collection breaks new ground in feminist film theory, offering close analyses of films from Hitchcock to 21st-century horror. Praised as a “splendid contribution,” it lends readers ‘new eyes’. “Should be required reading for students and scholars.”
Why did we evolve a sense of beauty? This book answers from the perspective of scientists with deep knowledge of the arts, weaving together experimental science with art, music, and more. They show how all our senses are similar under the hood in shaping our aesthetic experience.
This conference proceedings brings together researchers, artists, art historians, and activists to collaboratively map the uncharted territories of new forms of botanical knowledge, and to capitalize on contemporary art’s ability to productively unhinge scientific theories.
This publication focuses on the various vectors of visual communication, particularly contemporary brands as social phenomena, culture and the way people communicate and create meanings, from a designer’s perspective.
Millais exposes the myths that surround Le Corbusier, detailing the endless failures of his proposals and his projects and arguing that his influence on architecture was disastrous, as traditional buildings were destroyed and replaced by featureless boxes of varying sizes.
Redwood undertakes a close formal analysis of Tarkovsky’s later films. Charting the stylistic and narrative innovations in Mirror, Stalker, Nostalghia and The Sacrifice, he succeeds in shedding new light on these celebrated, but often misunderstood, masterpieces.
This collection of essays explores the enduring afterlife of medieval art and architecture. It examines how medieval works were preserved, restored, and appropriated from the 16th to 20th centuries to shape modern political, religious, and cultural practices.
This accessible collection offers a fresh approach to photography and literature. Essays by acknowledged experts consider both key literary figures, from Proust to Sebald, and photographic practitioners to give a commanding, ground-breaking overview of the subject.
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