Please use this identifier to cite or link to this item: http://hdl.handle.net/11707/3289
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dc.contributor.authorDuse, Marco
dc.date.accessioned2015-01-13T16:20:08Z
dc.date.accessioned2015-10-21T11:48:59Z-
dc.date.available2015-01-13T16:20:08Z
dc.date.available2015-10-21T11:48:59Z-
dc.date.issued2007
dc.identifier.urihttp://hdl.handle.net/11707/3289
dc.description.abstractWritten in 1968 by Joan Lindsay, adapted for the screen by Cliff Green and directed in 1975 by Peter Weir, "Picnic at Hanging Rock" is a complex and compelling example of transposition from novel to film. Since "Picnic" is one of the most important films in the history of Australian cinema, it has already been studied several times, though the metaphysical side of Weir's transposition (which the 1998 director's cut has emphasised) has seldom been examined in depth. This essay analyses the metaphores, symbols and patterns that lead to an existential reading of Weir's film, and discusses such issues as time, truth, nature and spirituality, which are at the very core of Weir's film, especially of its shorter and neater version released in 1998.it
dc.language.isoengit
dc.publisherPadova, Studio Editoriale Gordiniit
dc.relation.ispartofAnnali di Ca' Foscari : Rivista della Facoltà di Lingue e Letterature Straniere dell'Università Ca' Foscari di Venezia, 2007, vol. 46 (1), pp. 143-166it
dc.title1900: A Bush Odyssey. A Metaphysical Reading of "Picnic at Hanging Rock"it
dc.typeArticleit
dc.description.fulltextopenen
dc.subject.keywordsJoan Lindseyit
dc.subject.keywordsPeter Weirit
dc.subject.keywordsAustralian cinemait
dc.subject.keywordsAustralian literatureit
Appears in Collections:Annali di Ca' Foscari. Serie occidentale

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