Cover not available

In:A Comparative History of the Literary Draft in Europe
Edited by Olga Beloborodova and Dirk Van Hulle
[Comparative History of Literatures in European Languages XXXV] 2024
► pp. 458–472

Get fulltext
PDF logo with download linkDownload Chapter PDF

2.3.1
Film

Authorship, versions and revisions

 | University of Antwerp
Open Access logo
Available under the Creative Commons Attribution-NonCommercial-NoDerivatives (CC BY-NC-ND) 4.0 license.

For any use beyond this license, please contact the publisher at rights@benjamins.nl.

Published online: 8 November 2024
DOI logo with link
https://doi.org/10.1075/chlel.xxxv.32pau
Abstract
This chapter aims to test the saliency of textual or genetic criticism for film studies. My suggestions take two directions: on the one hand, I propose that the philological task of the genetic critic to compare different versions of a literary text, finds an equivalent in the job of the film preservationist. In a second move, I look at the problematic of creative control in an art rooted from the beginning in an industrial model. Considering the American “auteur” cinema of the 1970s, I argue that the filmmaker’s newly-won right of “final cut” led to endless revisions and the “modernist” sense that the “text” can never be finished.
References (34)
References
Films
Cimino, Michael (dir.). 1980. Heaven’s Gate. United Artists.Google Scholar logo with link to Google Scholar
Coppola, Francis Ford (dir.). 1972. The Godfather. Paramount Pictures.Google Scholar logo with link to Google Scholar
(dir.). 1974. The Godfather II. Paramount Pictures.Google Scholar logo with link to Google Scholar
(dir.). 1977. The Godfather Saga. Paramount Television.Google Scholar logo with link to Google Scholar
(dir.). 1979. Apocalypse Now. Omni Zoetrope.Google Scholar logo with link to Google Scholar
(dir.). 1981. The Godfather 1902–1959: The Complete Epic. Paramount Home Entertainment.Google Scholar logo with link to Google Scholar
(dir.). 1992. The Godfather Trilogy: 1901–1980. Paramount Home Entertainment.Google Scholar logo with link to Google Scholar
(dir.). 2001. Apocalypse Now Redux. Omni Zoetrope.Google Scholar logo with link to Google Scholar
(dir.). 2019. Apocalypse Now: Final Cut. Omni Zoetrope.Google Scholar logo with link to Google Scholar
Ford, John (dir.). 1917. Straight Shooting. Universal Pictures.Google Scholar logo with link to Google Scholar
Kubrick, Stanley (dir.). 1971. A Clockwork Orange. Warner Brothers.Google Scholar logo with link to Google Scholar
(dir.). 1980. The Shining. Warner Brothers.Google Scholar logo with link to Google Scholar
Lucas, George (dir.). 1977. Star Wars: Episode IV – A New Hope. Lucasfilm.Google Scholar logo with link to Google Scholar
(dir.). 1997. Star Wars Trilogy: Special Edition. Lucasfilm.Google Scholar logo with link to Google Scholar
Scott, Ridley (dir.). 1982. Blade Runner. Warner Brothers.Google Scholar logo with link to Google Scholar
(dir.). 1992. Blade Runner: The Director’s Cut. Warner Brothers.Google Scholar logo with link to Google Scholar
(dir.). 2007. Blade Runner: The Final Cut. Warner Brothers.Google Scholar logo with link to Google Scholar
Spielberg, Steven (dir.). 1977. Close Encounters of the Third Kind. Columbia Pictures.Google Scholar logo with link to Google Scholar
(dir.). 1979. 1941. Columbia Pictures and Universal Pictures.Google Scholar logo with link to Google Scholar
(dir.). 1980. Close Encounters of the Third Kind: The Special Edition. Columbia Pictures.Google Scholar logo with link to Google Scholar
(dir.). 1990. Close Encounters of the Third Kind: The Criterion Collection. Columbia Pictures.Google Scholar logo with link to Google Scholar
(dir.). 1998. Close Encounters of the Third Kind: The Collector’s Edition. Columbia Pictures.Google Scholar logo with link to Google Scholar
Other sources
Baxter, John. 1997. Kubrick. New York: Carroll & Graf.Google Scholar logo with link to Google Scholar
. 1999. George Lucas: A Biography. London: HarperCollins.Google Scholar logo with link to Google Scholar
Benjamin, Walter. 2015. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations, ed. by Hannah Arendt, trans. by Harry Zorn, 211–245. London: The Bodley Head.Google Scholar logo with link to Google Scholar
Bordwell, David, Janet Staiger, and Kristin Thompson. 1985. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press.Google Scholar logo with link to Google Scholar
Cavell, Stanley. 1979. The World Viewed: Reflections on the Ontology of Film (Enlarged Edition). Cambridge, MA and London: Harvard University Press.Google Scholar logo with link to Google Scholar
Cherchi Usai, Paolo. 2000. Silent Cinema: An Introduction. London: British Film Institute.Google Scholar logo with link to Google Scholar
Cowie, Peter. 1994. Coppola: A Biography. Boston, MA: Da Capo Press.Google Scholar logo with link to Google Scholar
Kael, Pauline. 1984. “Close Encounters of the Third Kind, The Special Edition.” In Taking It All In, 53–54. New York: Holt, Rinehart and Winston.Google Scholar logo with link to Google Scholar
Lewis, Jon. 1995. Whom Hollywood Wishes to Destroy: Francis Coppola and the New Hollywood. London: Athlone.Google Scholar logo with link to Google Scholar
Lucas, George, and Gavin Smith. 2002. Interview. Film Comment (July–August): 31–32.Google Scholar logo with link to Google Scholar
McBride, Joseph. 1997. Steven Spielberg: A Biography. New York: Simon & Schuster. Google Scholar logo with link to Google Scholar
Sullivan, Hannah. 2013. The Work of Revision. Cambridge, MA: Harvard University Press.Google Scholar logo with link to Google Scholar
Mobile Menu Logo with link to supplementary files background Layer 1 prag Twitter_Logo_Blue