We say that people are “photogenic” when they prove time and again that they are ideal photographic subjects. This, of course, implies a crucial difference from subjects who are not “photogenic.” Following upon our discussion of adaptation on Tuesday, consider the following question: What, if anything, makes a literary work ‘adaptogenic”?
Explain by using examples that you think possess and do not possess this quality.
Now that you’ve seen both “Life Lessons” (1989) and Casino (1995) let’s begin making a case for Martin Scorsese as auteur. What are some themes, interests, and artistic preoccupations connecting the two films? In responding, think also of Scorsese’s aesthetic choices: camera techniques, sound, mise-en-scene, and editing patterns.
On Tuesday, we saw examples of the classic western genre in My Darling Clementine (Ford, 1946) and Red River (Hawkes, 1948). Some would argue that The Searchers (Ford, 1956) is a revisionist western reflecting a newer sensibility. Respond to the following question in a 50-word post: in what ways does The Searchers share features of the classic formula? In what ways does it rework the western genre by adding new dimensions?