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This thesis demonstrates the previously unacknowledged contribution made by early screenwriting teachers to the development of the Hollywood film industry from 1910 to 1922. Through a study of five key screenwriting teachers from the period, it shows the significant role played by such figures in the translation of playwriting theory and theatrical tradition into writing for film. Drawing on an extensive range of primary materials, including manuals and columns written for the fan and trade press, it demonstrates the role played by such teachers in the formation and codification of a set of writing techniques specific to the film medium. In doing so, this thesis fills an important gap in the historiography of screenwriting in Hollywood, giving due credit to a body of work that has previously received only passing consideration, and highlighting the role of early screenwriting teachers, which has previously been understated if not ignored. The thesis also examines some aspects of their legacy in the context of the role and function of contemporary screening gurus.

nÃo hà / O LeÃo, a Feiticeira e o Guarda-Roupa (1950), de C. S. Lewis, à uma tÃpica narrativa de fantasia. Assim, apresenta caracterÃsticas de forma e conteÃdo que tÃm sido tradicionalmente empregadas pelo gÃnero, entre elas o apelo a uma atmosfera medieval. A histÃria foi adaptada para o cinema de Hollywood em 2005 por Andrew Adamson, com tÃtulo homÃnimo. O objetivo principal desta dissertaÃÃo à discutir as estratÃgias utilizadas pelo diretor para produzir um blockbuster de aÃÃo no formato da clÃssica narrativa hollywoodiana, explorando os elementos fantÃsticos e medievais da obra. Parte-se da ideia de que a adaptaÃÃo, embora oriunda de um texto que ocupa um espaÃo perifÃrico no sistema literÃrio britÃnico, consegue se destacar no sistema cinematogrÃfico de Hollywood. A pesquisa tem carÃter descritivo, com abordagem qualitativa, que consiste na leitura da obra literÃria e do filme para analisar como a fantasia e o medievalismo sÃo configurados nessas narrativas. A anÃlise levou-nos a concluir que a adaptaÃÃo foi capaz de ressignificar os elementos da obra literÃria responsÃveis por sua marginalizaÃÃo. Como base teÃrica, apoia-se nos princÃpios dos estudos descritivos de traduÃÃo, sobretudo no conceito de reescritura, de Lefevere (2007), e nos pressupostos da teoria dos polissistemas, de Even-Zohar (1990). Os referenciais teÃricos ainda incluem Todorov (2010, 2006) e Propp (2006), para caracterizar a obra como uma narrativa de fantasia; Cecire (2009) e Hobsbawm (1997), para abordar a questÃo do medievalismo; Compagnon (1999) e Wellek e Warren (2003), para discutir o cÃnone literÃrio; e Bordwell (1985), para delimitar as propriedades do padrÃo narrativo clÃssico de Hollywood. / The Lion, the Witch and the Wardrobe (1950), by C. S. Lewis, is a typical fantasy narrative. Thus, its form and contents are shaped by characteristics which have traditionally marked the genre, such as the appeal to a medieval atmosphere. The story was adapted to the Hollywood cinema by Andrew Adamson in 2005 keeping the same title. The main goal of this dissertation is to discuss the strategies employed by the director to produce an action blockbuster in the format of the classical Hollywood narrative through the exploration of the fantastic and medieval elements of the novel. It starts from the idea that the film adaptation, although it comes from a text which occupies a peripheral position in the British literary system, manages to stand out in the Hollywood cinematographic system. This research is descriptive and has a qualitative approach, which consists of the reading of both the novel and the film to analyse how fantasy and medievalism are configured in these narratives. The analysis led us to conclude that the adaptation was able to resignify the elements of the novel which are responsible for its marginalization. The theoretical bases for this work are the principles of the descriptive translation studies, especially the concept of rewriting, by Lefevere (2007), and the premises of the polysystem theory, by Even-Zohar (1990). Theoretical references still include Todorov (2010, 2006) and Propp (2006), to characterize the novel as a fantasy narrative; Cecire (2009) and Hobsbawm (1997), to approach the matter of medievalism; Compagnon (1999) and Wellek and Warren (2003), to discuss the literary canon; and Bordwell (1985), to delimitate the properties of the classical Hollywood narration pattern.

BRION, Nicolai Henrique Dianim. A Releitura de O Leão, a Feiticeira e o Guarda-Roupa no Cinema. 2013. 114f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-20T12:01:06Z No. of bitstreams: 1 2013_dis_nhdbrion.pdf: 2187439 bytes, checksum: 0f737692e173eaab7640718412c8b869 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-20T13:42:42Z (GMT) No. of bitstreams: 1 2013_dis_nhdbrion.pdf: 2187439 bytes, checksum: 0f737692e173eaab7640718412c8b869 (MD5) / Made available in DSpace on 2014-05-20T13:42:42Z (GMT). No. of bitstreams: 1 2013_dis_nhdbrion.pdf: 2187439 bytes, checksum: 0f737692e173eaab7640718412c8b869 (MD5) Previous issue date: 2013 / The Lion, the Witch and the Wardrobe (1950), by C. S. Lewis, is a typical fantasy narrative. Thus, its form and contents are shaped by characteristics which have traditionally marked the genre, such as the appeal to a medieval atmosphere. The story was adapted to the Hollywood cinema by Andrew Adamson in 2005 keeping the same title. The main goal of this dissertation is to discuss the strategies employed by the director to produce an action blockbuster in the format of the classical Hollywood narrative through the exploration of the fantastic and medieval elements of the novel. It starts from the idea that the film adaptation, although it comes from a text which occupies a peripheral position in the British literary system, manages to stand out in the Hollywood cinematographic system. This research is descriptive and has a qualitative approach, which consists of the reading of both the novel and the film to analyse how fantasy and medievalism are configured in these narratives. The analysis led us to conclude that the adaptation was able to resignify the elements of the novel which are responsible for its marginalization. The theoretical bases for this work are the principles of the descriptive translation studies, especially the concept of rewriting, by Lefevere (2007), and the premises of the polysystem theory, by Even-Zohar (1990). Theoretical references still include Todorov (2010, 2006) and Propp (2006), to characterize the novel as a fantasy narrative; Cecire (2009) and Hobsbawm (1997), to approach the matter of medievalism; Compagnon (1999) and Wellek and Warren (2003), to discuss the literary canon; and Bordwell (1985), to delimitate the properties of the classical Hollywood narration pattern. / O Leão, a Feiticeira e o Guarda-Roupa (1950), de C. S. Lewis, é uma típica narrativa de fantasia. Assim, apresenta características de forma e conteúdo que têm sido tradicionalmente empregadas pelo gênero, entre elas o apelo a uma atmosfera medieval. A história foi adaptada para o cinema de Hollywood em 2005 por Andrew Adamson, com título homônimo. O objetivo principal desta dissertação é discutir as estratégias utilizadas pelo diretor para produzir um blockbuster de ação no formato da clássica narrativa hollywoodiana, explorando os elementos fantásticos e medievais da obra. Parte-se da ideia de que a adaptação, embora oriunda de um texto que ocupa um espaço periférico no sistema literário britânico, consegue se destacar no sistema cinematográfico de Hollywood. A pesquisa tem caráter descritivo, com abordagem qualitativa, que consiste na leitura da obra literária e do filme para analisar como a fantasia e o medievalismo são configurados nessas narrativas. A análise levou-nos a concluir que a adaptação foi capaz de ressignificar os elementos da obra literária responsáveis por sua marginalização. Como base teórica, apoia-se nos princípios dos estudos descritivos de tradução, sobretudo no conceito de reescritura, de Lefevere (2007), e nos pressupostos da teoria dos polissistemas, de Even-Zohar (1990). Os referenciais teóricos ainda incluem Todorov (2010, 2006) e Propp (2006), para caracterizar a obra como uma narrativa de fantasia; Cecire (2009) e Hobsbawm (1997), para abordar a questão do medievalismo; Compagnon (1999) e Wellek e Warren (2003), para discutir o cânone literário; e Bordwell (1985), para delimitar as propriedades do padrão narrativo clássico de Hollywood.

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Questa tesi di dottorato ha l’obiettivo di analizzare i processi attraverso cui individui ed organizzazioni costruiscono la loro posizione e la loro valutazione nel contesto di field istituzionali culturali e creativi. La tesi contiene tre capitoli che rappresentano tre distinti lavori di ricerca. Le analisi empiriche svolte sono incentrate sui settori del cinema (primo capitolo), della quality television (televisione ‘di qualità’, serie televisive) e della musica indipendente negli Stati Uniti. In tutti i lavori di ricerca sono stati utilizzati database longitudinali e metodi quantitativi e qualitativi. Nel primo capitolo, si analizza come gli scandali personali (di natura sessuale e non sessuale) influenzino la costruzione della peer recognition. Si prendono anche in considerazione gli effetti degli stereotipi legati al genere e dei comportamenti orientati alla valorizzazione delle diversità (solidarietà femminile), per comprendere come questi influiscano sulla peer recognition, insieme agli scandali, nell’ambito della valutazione degli attori di Hollywood (candidatura all’Oscar), nel lasso temporale 2003-2018. Nel secondo capitolo, viene teorizzato il processo di nascita e di consolidamento di un field interstiziale (interstitial issue field), attraverso l’analisi del caso del field nato tra la musica indipendente e la quality television negli Stati Uniti, dal 2003 al 2018. Si delineano le caratteristiche della infrastruttura istituzionale del field emerso, si definisce il ruolo lavoro degli attori istituzionali (institutional work) e degli spazi interstiziali (interstitial spaces). Nel terzo capitolo, i field istituzionali della musica indipendente e della quality television sono ulteriormente esaminati, tra il 2013 e il 2018, attraverso una indagine della collaborazione tra i due field, nell’ utilizzo di un album indipendente nella soundtrack di episodi di una serie televisiva. La ricerca mira a comprendere gli effetti della collaborazione sulla valutazione di un prodotto del field della musica indipendente (album indipendenti) che collabora con un field più ‘commerciale’ (quality television). / This doctoral thesis aims at shedding light on the processes by which individuals and organizations negotiate their structure, position, and evaluation, within the context of creative and cultural fields. It contains three chapters that represent three research studies. The empirical analyses undertaken throughout the research pieces are focused on the fields of cinema (first chapter), quality television, and independent music (second and third chapter) in the United States. For all of them, longitudinal databases are employed, and both quantitative and qualitative methodologies are utilized. In the first chapter, the role of personal (sexual and non-sexual) scandals for peer recognition is investigated. The research focuses on how scandals, gender stereotypes, and engagement in diversity-valuing behaviors (female solidarity) affect peer recognition for Hollywood actors (nomination of actors for an Oscar), in the time frame 2003-2018. In the second chapter, the process of emergence and consolidation of an interstitial issue field is theorized, by exploring the case of the field that emerged between indie music and the quality television in the United States from 2003 to 2018. In the analysis, the features of the institutional infrastructure of the emerged field, with the role of institutional actors and of interstitial spaces, are taken into consideration. In the third chapter, the fields of independent music and quality television in the US are further examined, between 2013 and 2018, by focusing on the patterns of evaluation of one field’s products (independent music, independent albums) when this field interacts with the other (quality television) – that is, when independent albums are featured in quality television episodes.

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