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dc.contributor.authorKaradağ, Özlem
dc.date2020-06-06
dc.date.accessioned2020-06-06T09:45:32Z
dc.date.available2020-06-06T09:45:32Z
dc.date.issued2019-10-30
dc.identifier.citationAlcalâ , C. D. (2004). Return to Austen: Film Heroines of the Nineties. In S. Onega and C. Gutleben (Ed.). Refracting the Canon in Contemporary British Literature and Film. (pp. 95-110.) New York: Rodopi. Bignell, J. (2000). A Taste of the Gothic: Film and Television Versions of Dracula. In R. Giddings and E. Sheen (Ed.). The Classic Novel: From Page to Screen (pp. 114-130). Manchester: Manchester University. Browning, T. & Deane & Hamilton (Director & Screenwriters). (1931). Dracula. [Motion Picture]. U.S.A.: Universal Films. Chevalier, J. & Gheerbrant, A. (1996). The Penguin Dictionary of Symbols. (John Buchanan-Brown, Trans.). London: Penguin. Connolly, A. (2008) Jung in the Twilight Zone: The Psychological Functions of the Horror Film. In S. Rowland (Ed.). Psyche and the Arts: Jungian Approaches to Music, Architecture, Literature, Painting and Film (pp. 128-38). London: Routledge. Coppola, F. F. & Hart, J. V. (Director & Screenwriter). (1992). Bram Stoker’s Dracula. [Motion Picture]. U.S.A.: American Zoetrope, Columbia Pictures, Osiris Films. Cotterell, A. & Storm R. (1999). The Ultimate Encyclopedia of Mythology. China: Hermes. Davison, C. M. (1997). Introduction: Bram Stoker’s Dracula: Sucking Through the Century, 1897-1997. In C. M. Davison & P. Simpson – Housley (E.). Bram Stoker’s Dracula: Sucking Through the Century, 1897-1997. (pp. 19-40). W. P.: Dundurn. Gelder, K. (1994). Reading the Vampire. London: Routledge. Hutcheon, L. (2006). A Theory of Adaptation. London: Routledge. LeBlanc, J. (1997). “It is not good to note this down”: Dracula and the Erotic Technologies of Censorship. In C. M. Davison & P. Simpson – Housley (Ed.). Bram Stoker’s Dracula: Sucking Through the Century, 1897-1997 (pp. 249-68). W. P.: Dundurn. Miller, J. H. (2004). Parody as Revisionary Critique in Charles Palliser’s The Quincunx. In S. Onega & C. Gutleben (Ed.). Refracting the Canon in Contemporary British Literature and Film (pp. 129-48). New York: Rodopi. Montalbano, M. (2008) From Bram Stoker’s Dracula to Bram Stoker’s ‘Dracula’. In R. Stam & A. Raengo (Ed.). A Companion to Literature and Film (pp. 385-98). Oxford: Blackwell. Onega, S. & Gutleben, C. (2004) Introduction. In S. Onega & C. Gutleben (Editors). Refracting the Canon in Contemporary British Literature and Film (pp. 7-15). New York: Rodopi. Spadoni, R. (2007). Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre. California: University of California. Stoker, B. (2000). Dracula. Kent: Wordsworth. Welsh, J. M. (2007). Sucking Dracula. In J. M. Welsh & Peter Lev (Ed.). The Literature/Film reader: Issues of Adaptation (pp. 165-74). Plymouth: The Scarecrow.tr_TR
dc.identifier.issn2636-784X
dc.identifier.urihttp://hdl.handle.net/20.500.12627/620
dc.description.abstractThis article presents a comparative study of the two adaptations of Bram Stoker’s Dracula (1897), Tod Browning’s Dracula (1931) and Francis Ford Coppola’s Bram Stoker’s Dracula (1992), using Linda Hutcheon’s theory of literary adaptation. Although listed as box-office oriented films, Dracula and Bram Stoker’s Dracula are important examples of adaptation, because each production adapts the novel in a different cultural and historical background and thus they paraphrase the text according to the anxieties of their times. This work explores the author’s and each director’s take on the conflicts about class, gender and “the other” with close reference to the historical background of the novel and the two adaptations, respectively the Victorian Age, the Great Depression, and the 1990s. Moving from Hutcheon’s theory, this study aims at proving that each adaptation with its own dis/loyalties not only reveals its period’s problems using the different interpretations of the Dracula, but also they come up as new texts that enable the audience find new meaning in every choice made by the director(s) which make them works that fit into the definition of adaptation.tr_TR
dc.language.isoengtr_TR
dc.publishersinecinetr_TR
dc.relation.isversionofhttps://doi.org/10.32001/sinecine.639737tr_TR
dc.rightsinfo:eu-repo/semantics/openAccesstr_TR
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United States*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/us/*
dc.subjectAdaptation theory, Linda Hutcheon, Dracula, Bram Stoker, Tod Browning, Francis Ford Coppola.tr_TR
dc.titleREADING BETWEEN THE IMAGES IN BROWNING’S AND COPPOLA’S DRACULA ADAPTATIONStr_TR
dc.typearticletr_TR
dc.relation.journalsinecine: Sinema Araştırmaları Dergisitr_TR
dc.contributor.departmentİstanbul Edebiyat Fakültesi, Batı Dilleri ve Edebiyatları Bölümü, İngiliz Dili ve Edebiyatı Ana Bilim Dalıtr_TR
dc.contributor.authorID0000-0002-6670-6060tr_TR
dc.identifier.volume10tr_TR
dc.identifier.issue2tr_TR
dc.identifier.startpage481tr_TR
dc.identifier.endpage509tr_TR


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