A Streetcar Named Jasmine
Although Woody Allen has never marked Tennessee Williams’ play A Streetcar Named Desire as a literary source for his popular movie Blue Jasmine, parallels regarding the plots and characters of the works has been widely recognized. This paper, employing Robert Stam’s concept of intertextual dialogism...
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| Dokumentumtípus: | Szakdolgozat |
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2018
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| Online Access: | http://diploma.bibl.u-szeged.hu/74605 |
| Tartalmi kivonat: | Although Woody Allen has never marked Tennessee Williams’ play A Streetcar Named Desire as a literary source for his popular movie Blue Jasmine, parallels regarding the plots and characters of the works has been widely recognized. This paper, employing Robert Stam’s concept of intertextual dialogism, argues that Blue Jasmine is the modernized and renamed adaptation of the Williams’ play alluding to the play’s 1951 adaptation directed by Elia Kazan as well. In order to do so, the paper first observes the connections between the Williams’ play and Kazan’s movie highlighting the alterations on the original script demanded by the censors of PCA. Then, it shifts its focus to the correspondences between the Allen-movie and the Streetcar supporting Blue Jasmine’s being an updaptation of the play. Finally, it studies the similarities of the two movies proving that Allen had drawn inspiration not only from the play, but also from Kazan’s movie. Considering adaptation as intertextual dialogism, the paper concentrates on the relations of the three works without putting them into hierarchical order or demanding fidelity from the play’s filmic adaptations. Acknowledging that the ongoing dialogue among the works implies the changes of our social, cultural and artistic background, this paper advocates considering adaptation as a social practice as well. |
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