FILMOGRAPHY

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. ACKNOWLEDGMENTS vii
4. Introduction 1
5. Part One: Epigraphic Re-creations
6. 1. Goethe and Archibugi Italy, the Illegible Land: Mignon Has Left (1988) 27
7. 2. Kafka and Fellini Soteriology, Cinecittà-style: America and Intervista (1987) 33
8. Part Two: Coextensive Re-creations
9. 3. Gogol and Lattuada Fantastic Neorealism: The Overcoat (1952) 57
10. 4. Tolstoy and the Tavianis The Interminable Path of History: Father Sergius and The Night Sun (1990) 77
11. The Re-creation to End All Creation
12. Sade and Pasolini Requiem for a Utopia: Said or the 120 Days of Sodom (1975) 101
13. Part Three: Mediated Re-creations
14. 5. Mérimée, Bizet, and Rosi The Consummation of Meridionalism: Carmen (1984) 125
15. 6. Pasternak, Lean, and Moretti Hermits and Revolutionaries: Palombella rossa (1989) 143
16. Part Four: Hypertextual Re-creations
17. 7. Stendhal and Rossellini The Masterpiece Fights Back: Vanina Vanini (1961) 161
18. 8. Mann and Visconti One Sentry Falls: Death in Venice (1971) 183
19. Conclusion 203
20. On Readings: Perfect/Imperfect, Difficult, and More Difficult 205
21. NOTES 219
22. FILMOGRAPHY 321
23. WORKS CITED 327
24. INDEX 351