116th Annual Conference - Bellingham, Washington
Friday, November 9 - Sunday, November 11, 2018

Film and Literature II

Session Chair: 
Ryan Lambert, The Community College of Denver
Session 8: Sunday 10 am – 11:30 am
Miller Hall 138
Topic Area: 


  1. Sirbu Vlad, University of California, Riverside
    By adapting Pu Songling’s short strange story The Painted Skin to cinematographic form, the directors are involuntarily carrying a message of gendering spaces. The library, the studio, the place of intellectual development is faced with destruction and death by the perpetually moving, anonymous female ghost. In this spirit, the present research will focus on the patterns that construct the idea of safety, and unsafety in both literary and cinematographic depictions. 
  2. Jongwoong Kim, Sogang University (South Korea)
    Henry James does not mention almost about film in his works. However, his autobiographical fiction, “The Jolly Corner” (1908), shows a glimpse of the author’s interpretation of cinema. In this paper, by applying Freudian doppelganger theory and Jean Epstein’s concept, photogénie, I argue that Henry James’s “The Jolly Corner” is the author’s confession of his cinema experience and how he adapts his identity in the age of cinema.
  3. Hyemin Kim, "Brooklyn College, City University of New York"
    British feminist filmmaker Sandra Lahire (1950–2001) adapted Sylvia Plath's poetry with avant-garde aesthetics of mixed-mediality defended in the alternative collective filmmaking culture in the ’70s and ’80s in London. In adapting poetry, Lahire pursued collage – superimposing,  disjunctive, and performative – aesthetics that enables the literary text to embody its excess with its physicality and polyphonicity in underground filmmaking and theater culture. 
  4. Michael Mays, Washington State University Tri-Cities
    This paper explores the reputation and career of comedian, filmmaker, actor, and novelist Albert Brooks, asking why—if Brooks is as funny as his peers make him out to be—his body of work isn’t funnier or more successful than it has been. The answer, it argues, rests in Brooks’s uniquely “equivocal” comedic sensibility.
Session Cancelled: