Books by Ingeborg Bratoeva-Daraktchieva
Papers by Ingeborg Bratoeva-Daraktchieva
Изкуствоведски четения, 2009
Проблеми на изкуството, 2009
Изкуствоведски четения, 2011
Проблеми на изкуството, 2014
Franco Zeffirelli’s „Romeo and Juliet” as a crossover film model , 2014
This paper examines Franco Zeffirelli's adaptation of "Romeo and Juliet" (1968) from two perspect... more This paper examines Franco Zeffirelli's adaptation of "Romeo and Juliet" (1968) from two perspectives: from the crossover film development in the late 1960s and through the lens of the general discussion about literary adaptations on screen. The introduction of the text exposes the debates relating to crossover film as a cultural form, from Thomas Elsaesser's labeling it as a "form of cinematic prostitution" to a more balanced view of its capacity of making the critical transition from minority to mainstream film audiences. A brief review of the experiments of Franco Zeffirelli with Shakespearian texts (on stage and screen) underlines the unique contribution of the Italian director to the formation of a modern approach to literary adaptations. Adapting time-honored literary texts to the attitudes of a mass-media-dominated cinema audience Zeffirelli developed a style of new realism, which affected the principles of cinema adaptations for the next decades.
The article's core offers a detailed analysis of Zeffirelli's film "Romeo and Juliet" (1968), a case study of this remarkable model of the crossover film. The review is based on examining the principal elements of the movie, which distinguishes it from the then-established tradition of Shakespearian adaptations. The director demonstrates a skilled implementation of the full visual potential of cinema, operating with different shots, spectacular angles, dramatic montage techniques, visualization of metaphors, authentic period details, etc. In its conclusion, the paper underlines the correlation between this newly developed style of literary adaptation and the outstanding cultural reception of the film.
The paper deals with the specifics of the contemporary Eastern-European art-cinema, outlining the... more The paper deals with the specifics of the contemporary Eastern-European art-cinema, outlining the achievements of the Eastern-European art-film under totalitarianism that have set the scene for its development. The Soviet bloc film-industries have produced significant art-films in the 1960s, 1970s and the 1980s, expressing indirect aesthetic opposition to the political dictatorship. Presently, the works by Miklós Jancsó, Andrei Tarkovsky, Sergei Parajanov among other Eastern-European directors/writers are critically acclaimed as groundbreaking art-work. Developing in the context of turbulent social transformations and media globalization, the post-totalitarian art-film, which comes from that tradition, has oriented towards a more communicative style without, though, giving up its specific metaphors. Considering works by Cristian Mungiu, Bogdan Mirică, Dejan Zečević, Kostadin Bonev, etc., the paper seeks to reveal how this quest entwines with the topical trend towards the pursuit of universal messages and abandoning direct relevance to the modern day in the latest Eastern-European art-films. A special emphasis is put on the ever so noticeable incorporation of techniques of the westerns and horror movies and/or other genres popular with the general audiences into the post-totalitarian art-film.
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Books by Ingeborg Bratoeva-Daraktchieva
Papers by Ingeborg Bratoeva-Daraktchieva
The article's core offers a detailed analysis of Zeffirelli's film "Romeo and Juliet" (1968), a case study of this remarkable model of the crossover film. The review is based on examining the principal elements of the movie, which distinguishes it from the then-established tradition of Shakespearian adaptations. The director demonstrates a skilled implementation of the full visual potential of cinema, operating with different shots, spectacular angles, dramatic montage techniques, visualization of metaphors, authentic period details, etc. In its conclusion, the paper underlines the correlation between this newly developed style of literary adaptation and the outstanding cultural reception of the film.
The article's core offers a detailed analysis of Zeffirelli's film "Romeo and Juliet" (1968), a case study of this remarkable model of the crossover film. The review is based on examining the principal elements of the movie, which distinguishes it from the then-established tradition of Shakespearian adaptations. The director demonstrates a skilled implementation of the full visual potential of cinema, operating with different shots, spectacular angles, dramatic montage techniques, visualization of metaphors, authentic period details, etc. In its conclusion, the paper underlines the correlation between this newly developed style of literary adaptation and the outstanding cultural reception of the film.