Around this threatening figure, ruins of former ships form a sort of extravagant and lively village. Barrie’s story of “the boy who would not grow up” was brought to life on stage. 5 Cyril Bossy, Steven Spielberg, Un Univers de Jeux (Paris: L'Harmattan, 1998) 175. Als Wendy fragt, wieso es denn keine „Verlorenen Mädchen“ gäbe, meint Peter, Mädchen wären viel zu schlau, um aus dem Kinderwagen zu fallen. In traditional drama, it would have been considered a transgression of decorum although it was not unusual: in Shakespeare’s plays, for instance, characters were often ferociously amputated or slain on stage. Hanson, Bruce K. The Peter Pan Chronicles – The Nearly One-Hundred-Year History of the Boy Who Wouldn’t Grow Up. Perf. . Green, Roger Lancelyn. Le tournage a lieu en Angleterre, notamment dans les Studios Leavesden, dans la Stowe School de Buckingham, à Bedford et à Londres (South Kensington, West Kensington)[13]. As he begins the next sentence, his right hand rises from underneath the desk and we view, for the first time in any film, his scarred stump…23. (N.J.: Rutgers University Press, 2009) 196. Brenon, Herbert dir. Und nach und nach wird Wendy klar, dass es nicht nur Vorteile hat, für immer ein Kind zu bleiben. Doch Peter Pan besucht Wendy, John und Michael wieder in ihrem Zimmer und nimmt sie schließlich mit nach Nimmerland. As he begins the next sentence, his right hand rises from underneath the desk and we view, for the first time in any film, his scarred stump…, This presentation relies on provocation. 27 Personal transcription from the bonus material « La Magie de Neverland » (Making of) DVD Neverland. . It is a clever mixture of tradition and modernity: one can still see or guess how an element such as the sea could be animated on stage without the help of today’s technology – setting the waves into motion can be achieved manually with mechanical devices hidden behind the wood panels, for instance. As Wendy Darling (Rachel Hurd-Wood) recounts stories to her brothers, John (Harry Newell) and Michael (Freddie Popplewell), she is visited by Peter Pan (Jeremy Sumpter). En décembre 2013, Warner Bros. déclare avoir acheté le script et annonce une sortie pour le 26 juin 2015, avec Joe Wright comme réalisateur[5]. I would like to look at the aesthetic of these five films and, more precisely, lay emphasis on the various elements which remind the viewer of drama. In dem Film aus dem Jahr 2003 führte P. J. Hogan (Die Hochzeit meines besten Freundes, Muriels Hochzeit) Regie. 225. In the novel, J.M Barrie elaborates on each pirate, giving them a background and a few striking fea, In Disney’s animated film, Captain Hook looks more like a dandy buffoon than a comic character which encompasses subtle elements of pathos. Rachel Hurd-Wood speelde Wendy Darling en Ludivine Sagnier was Tinkerbell. The pirates’ harbor looks like a sort of microcosm where even prostitutes seem to be taking part in a show. (N.J.: Rutgers University Press, 2009) 196. » Andrew Birkins, « Peter Pan and his Creator » http://www.jmbarrie.co.uk/boycastaways/ab_on_JMB_RSC.html . Hogan regisseerde de film geschreven door Michael Goldenberg en gebaseerd op het boek Peter and Wendy van J.M. People pretend that they don’t realize it was impossible that it was there, that maybe someone built that and it’s just fine29. In dem Film aus dem Jahr 2003 führte P. J. Hogan (Die Hochzeit meines besten Freundes, Muriels Hochzeit) Regie. L’esthétique du Dessin Animé. In P. J. Hogans Peter Pan geht Rachel Hurd-Wood zu Jeremy Sumpter ins Nimmerland. In this version, it is James Hook’s sinister and virile facets which are accentuated. Indeed, for the creator of Peter Pan, the then revolutionary medium of cinema should have been able to project his fairy tale still further into a world of magic and illusion: he thought that the flying sequence and Never Land, in particular, deserved to be depicted more vividly. « Peter Pan » films in review 4 (1953) 94 as quoted in Kavey 178. Hook sinnt auf Rache an Peter Pan, wobei ihm jedes Mittel recht ist, um dem Jungen zu schaden. Another crucial set that carries an essential message in the film is the reproduction of Neverland at the Llewelyn Davies’ house. Aux sources de l’art des studios Disney. But, of course, as Susan Ohmer points out, the animated medium offers the possibility to go beyond what was presented on stage and to transcend these theatrical features: Similarly the confrontation at the end of the film is a tour de force of cinematic techniques: rapid editing, multiple and constantly shifting perspectives of the ship, the rope and the deck, characters leaping and flying and the music synchronized with them. In those instances, the identity of the filmic medium is not threatened since the theatrical burden is skillfully combined with cinematographic techniques. In the film, the camera remains static and offers a pre-eminently frontal and panoramic vision of the scenes placing the viewers in a remote position similar to the one of the audience in the orchestra of a theatre. Hierna werden ze verwerkt in de scènes van Londen en Neverland. In 1924, as J.M. (Lanham, MD: Scarecrow Press, 2006.) Costumes and make-up are essential to Hook and his court: pirates wear earrings and cutlasses, brightly colored sashes and blunderbusses, ponytails and pistols. Ook door de zwaardvechtscènes kwam de film echt tot leven. Der Film als Bestes Familiendrama und Jeremy Sumpter gewannen im Jahr 2004 den Young Artist Award. URL: http://journals.openedition.org/belphegor/397; DOI: https://doi.org/10.4000/belphegor.397. Johnny Depp and Kate Winslet. It brings to mind J.M. Obwohl Wendy Peter nur kurz gesehen hat, ist sie fasziniert von dem Jungen, der obendrein noch fliegen kann. But there is also a very perceptible sense of tradition in all the films. Littérature populaire et culture médiatique. De film werd gemaakt in opdracht van Universal Pictures. Le scénario est basé sur la pièce de théâtre et le roman Peter et Wendy (dont le titre complet est Peter Pan, ou le garçon qui ne voulait pas grandir), de l'écrivain écossais J. M. Barrie.. This position is reinforced by the framing which isolates him with medium shots, underlining his facial expressions and overdone gestures. Peter Pan is a 2003 fantasy adventure film released by Universal Pictures, Columbia Pictures, and Revolution Studios. Jeremy Sumpter gewann 2004 den Saturn Award. This “Mise en Abyme” is one more hint at the existence of a connecting thread – the one of the dramatic origins– binding all the adaptations. It is epitomized in the opening of Hook in which the hero, Peter Banning, a grown-up yuppie version of Barrie’s Peter, attends the school play of his daughter Moira, who performs the role of Wendy – her grandmother in the film. Peter Pan ist ein Fantasyfilm aus dem Jahr 2003 von P.J. Jason Isaacs and Jeremy Sumpter. In addition, Friedman identifies “a subtle confounding of masculine and feminine attributes” in this character and he goes even further asserting that: “[…] the symbol of Hook’s appearance and personality points to a complex, undifferentiated and dark interrelation of masculine and feminine qualities14.” This kind of ambiguous character appeared frequently in pantomimes or even in the Commedia dell’arte and one cannot help but identify James Hook as a character extracted from such popular dramatic entertainments15. Hogan avec Jeremy Sumpter, Jason Isaacs. Hook nimmt alle Kinder, auch Wendy und ihre Brüder, gefangen und hält sie auf seinem Schiff fest. Wendy bemerkt, dass Peter am Fenster steht und fragt, ob er jemals zurückkommen wird, worauf er antwortet, dass er kommen wird, um Geschichten über sich selbst zu hören. Paris : A-G Nizet, 1952. “The pain behind Peter Pan”, U.S. News & World Report. Barrie’s story of “the boy who would not grow up” was brought to life on stage. Hogan’s handling of Hook’s presentation in 2003 conspicuously departs from his filmic forebears but is just as memorable. Spielberg, Steven dir. 3Between 1924, the date of the first screen adaptation of Peter Pan, and 2004, several retellings of Barrie’s narrative were produced: Disney’s animated film in 1953, Spielberg’s Hook in 1991, and P.J. (Lanham, MD: Scarecrow Press, 2006.) Gleiberman describes Hoffman in his role of Hook: « Dustin Hoffman is hidden under pounds of ornate costuming – flowing black musketeer curls, a 17th-century mariner's coat with lace shooting out the cuffs, blocky-elegant shoes with shiny red heels. During these one hundred years, Barrie’s original play went through many interpretations, during the author’s lifetime and especially after his death. 9 « The most cinematic example of the former [time's passage] emerges in director Steven Spielberg's lavish production of Hook […] To visually underscore the importance of lost time, Spielberg fills the mise-en-scène with an almost numbing variety of time pieces, from postcard-perfect shots of Big Ben, to the intimate pocket watch Peter gives his son Jack (Charlie Korsmo), to Hook's (Dustin Hoffman) emblematic museum of broken clocks. Sylvia, who has been too ill, has not been able to attend the play inspired by her boys, so Barrie decides to organize a performance in her living room. 16; p. 73. The director, while describing the state of mind required to enjoy properly his film, implicitly alludes to the more general concept of “suspension of disbelief” which was already at the center of the English poet Samuel T. Coleridge’s attention as soon as the beginning of the 19th century. Barrie. At times, Hoffman might be doing a parody of those effete, decadent British villains of the '50s and early '60s. Jeden Abend erzählt sie ihren Brüdern von geheimnisvollen Welten, bösen Piraten und anderen Fantasiewesen. He is wearing a lace shirt with frilly sleeves, a long coat, a tricorn hat and a pistol tucked prominently into his belt. Die Verlorenen Jungs werden in die Familie aufgenommen und Peter Pan sieht vom Fenster aus zu und versteht, was er in seinem Leben niemals wird genießen dürfen: eine Familie zu haben und richtig zu leben. De visuele effecten in de film zijn een mix van digitale en andere effecten. Hogan’s more traditional rendering of the story in 2003. Also, in Steven Spielberg Mythe and Chaos (Paris: Horizon Illimité, 2003), Jean-Pierre Godard reports: « Il [Spielberg] veut refaire  »du vieux« , revenir aux films […] avec des décors tout studio. September 2019 um 16:15 Uhr bearbeitet. Diese Seite wurde zuletzt am 3. 26, 2009. Peter est un orphelin et se fait enlever, lui et ses amis, au Pays Imaginaire. | Peter Hollindale, a lecturer specialized in literature for children who wrote the preface from the 1999 Oxford Classic's edition of the play. 14 For both quotations, Friedman refers to Yeoman Now or Neverland 133 in Kavey 202. Peter Pan was the final Disney animated feature released through RKO before Walt Disney founded his own distribution company, Buen… James Hook is described as such in J.M. Pan is a 2015 American fantasy film directed by Joe Wright and written by Jason Fuchs. Nonetheless, however dark his first appearance in the intimate environment of his cabin is, it also contains theatrical dimensions and follows the tradition established by Barrie’s play and the filmic antecedents. 11Another effective way to insist on the dramatic inheritance in all the adaptations is to look at Captain James Hook: the way his first entrance is managed and the actor’s performance itself are the most important histrionic element in the films. 8The opulent baroque set of the pirates’ harbor8, for example, illustrates well the old-fashioned atmosphere the director tried to evoke. Spielberg must have wanted everything to look cheesy on purpose…, The film critic concedes that the artificial look of the sets, whether it is considered a success or not, was probably something done intentionally. A disheveled Hook slumps head-down on a scarlet and gold throne-like chair at his desk, his unkempt hair spilling out and dominating the image. Die fünf verlorenen Jungs sind als Babys aus dem Kinderwagen gefallen und landeten schließlich in Nimmerland. April 2004 in den deutschen Kinos. 19 « Peter Pan » films in review 4 (1953) 94 as quoted in Kavey 178. In the play much of the action takes places inside a cabin, an offstage space, and the dramatic climax of the fight is achieved largely through sound effects. It is no wonder Forster’s film was mostly praised for its visual style and most of the award nominations and wins for this film were collected in categories such as “Achievement in Art Direction” or “Excellence in Production Design”. 4 Owen Gleiberman, « Hook » http://www.ew.com/ew/article/0,,316539,00.html. Roman, théâtre, cinéma – Adaptations, hybridations et dialogues des arts. I personally find it very striking that all the adaptations retain something of the dramatic origins of, : Brenon, who was very meticulous about respecting the dialogue and smallest details; Disney which created its most manic villain; but also Spielberg with his old-fashioned garish sets; and finally Hogan who, despite all the modern resources at his disposal, decided to opt for a conspicuously artificially lit Neverland and interpreted the histrionic character of Hook as excessive in his violence and perversity. Another example from this latest cinematographic adaptation is the image of Peter lying against a statue during the fight which takes place in Marooner’s Rock26. April 2004 in den deutschen Kinos. Ihm gefallen ihre Geschichten ebenfalls. When she notices Smee, she screams with excitement and the camera subsequently reveals three other prostitutes bowing and repeating his name, while a group of drunken sailors play instruments. In his essay « Barrie's Immortal Pirate in Fiction and Film », Lester D. Friedman similarly compares Captain Hook's entrance in Spielberg's film to « the grandiose preambles spewed forth at a pro-wrestling match » and he quotes the film: « 'The cunning kingfish, the bad barracuda, a man so deep he's almost unfathomable, a man so quick he is even fast asleep. Hook's voice, with its rolling British cadences, its echoes of Boris Karloff's lispy melancholy, is unexpectedly gentle, even fawning. It may be yet another strategy to leave more room for Hook who definitely steals the show. Auf einmal stehen die Verlorenen Jungs auch noch in der Tür und Wendy überredet ihre Eltern, sie behalten zu dürfen. It is a theatrical setting well fitted to such and overweening character. 137, Iss. Spielberg does not content himself with the theatrical aspect of his settings, however also brings out the dramatic origins of. Haun, Harry. Cyrille Bossy confirms this thesis in his book devoted to the American Director, I argue that in order to see the aesthetic of, « The most cinematic example of the former [time's passage] emerges in director Steven Spielberg's, The opulent baroque set of the pirates’ harbor, , for example, illustrates well the old-fashioned atmosphere the director tried to evoke. Peter Pan ist eine Realverfilmung des Theaterstückes von J. M. Barrie. Captain Hook, in particular, is rigged out in long curls, foppish and ornate clothing like the red and gold braided waistcoat he has on in this scene, and his eyes are underlined with mascara, . Cyrille Bossy confirms this thesis in his book devoted to the American Director Steven Spielberg, Un Univers de Jeux: Hook est un film sur la mise en scène et sur le spectacle sous toutes ses formes : cinéma, théâtre, comédie musicale, parc d’attractions…auxquels il [Spielberg] entend emprunter à chacun son esthétique – d’où le parti pris d’un tournage en studio, de décors ouvertement factices, d’où le choix d’un conseiller visuel issu de la production théâtrale [John Napier, who designed the outstanding sceneries for Cats and Les Misérables]5. I mean there are certainly things that are fantasies, but I’m kind of hoping that at least some of that appear just to be part of the movie. Kindermädchen Nana, eine Bernhardinerhündin, darf nicht mehr ins Haus und ab dem nächsten Tag wird Wendy von ihrer strengen Tante erzogen. Nach und nach begreift Wendy jedoch, dass es nicht nur Vorteile hat, für immer ein Kind zu bleiben, da man dann wohl nie Gefühle wie Liebe verstehen wird. In Brenon’s silent film, the Captain’s entry is undeniably less prolonged and elaborated but it is the only cinematic version in which, respectfully to Barrie’s text, the character does not first appear on his boat but ashore. Its jaws contain a clock, the hands of which turn abnormally fast. Hogan, P.J. » Donna R. Whie and Anita C. Tarr and. London: Peter Davies, 1954. White, R. Donna and Anita C. Tarr and. It is no wonder Forster’s film was mostly praised for its visual style and most of the award nominations and wins for this film were collected in categories such as “Achievement in Art Direction” or “Excellence in Production Design”. Actually, even though most of the film is supposed to take place in outside-door locations, with the exception of a few panoramic shots, the characters seem to live in closed and circular areas. Hook. Er fliegt zurück zum Haus der Familie Darling und stellt fest, dass dort immer noch Wendys Mutter am Fenster auf die Rückkehr ihrer Kinder wartet. 2Eighty years later, in 2004, director Marc Forster released a film on J.M. Barrie. Once again, the border between fantasy and reality is blurred and so is the distinction between cinematic resources and more modest theatrical ones. HomeNuméros10-3Dossier Peter PanTheatrical aspects in the cinemat... 1Before Peter Pan was published in the form of a novel one hundred years ago, J.M. A few seconds later, the first of a series of encounters between Hook and the crocodile occurs. 13 See illustrations 13,14. It was the first authorised and faithful film … Sa prestation achevée, il regagne sa loge (cabine) pour se débarrasser de son accoutrement face à une multitude de miroirs. Its jaws contain a clock, the hands of which turn abnormally fast. »(Kavey, Friedman 205). Die verwirrte Wendy geht zu Hook, der ihr anbietet, seiner Crew beizutreten. 225. A holder of his own contrivance is in his mouth enabling him to smoke two cigars at once. The stress is put on the exuberance of Hook’s personality and his eccentricity, in situations of danger that are visually artificial and unrealistic: the Captain’s somersaults in the air which defy the law of gravity, the way he jumps out of the animal gaping jaws. Reading: Penguin Books, 1995. Actually, this scenery is so sophisticated that one can hardly believe it fits in the garden, nor can one imagine that it was possible to achieve such realistic sets at the time. » J.M. These confrontations, which are multiplied and expanded in the film, are treated with the full resources of animation: speed and agility of the characters, humorous repetition of movements, and tight synchronization of image and sound. The first performances took place in London as early as 1904, following which the play was quickly brought to New York, under the supervision of Barrie’s impresario and friend, Charles Frohman. Besides, J.M. Spielberg must have wanted everything to look cheesy on purpose…4. He symbolically dresses Peter Banning’s son Jack exactly like himself when he holds him under his influence and yearns to become a father-like figure. Between 1924, the date of the first screen adaptation of, I will start with an overview of the visual aspects of Spielberg’s, http://www.ew.com/ew/article/0,,316539,00.html, When Peter arrives in Neverland, it looks like the set for some over-budgeted, cast-of-thousands musical from the late ’60s. De tekst is beschikbaar onder de licentie. Darling, einige strenge Regeln aufzustellen. Belphégor est mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Warner Bros. tente de se défendre en expliquant qu'ils ont voulu créer un casting international et un monde multi-racial[11]. Quote extracted from the bonus material « La Magie de Neverland (Making of) » DVD, The audience needs not to notice the visual effects as such. Der Film startete am 1. In the novel, J.M Barrie elaborates on each pirate, giving them a background and a few striking features. It shows evidence of a successful dialogue amongst different arts, due to the fact that a cinema in its prime does not feel threatened by exterior aesthetics anymore. P.J. In Neverland beleven ze verschillende avonturen met piraten, indianen en zeemeerminnen. MLA International Bibliography. While insisting on the notion of an interaction between cinema and drama in the aesthetic of his film, Marc Forster, who was the last to release a major production of Peter Pan, puts the cinematic rewriting and remodeling of Peter Pan into perspective. A few minutes later, a vertical dolly shot films the sail of a boat from top to bottom, so it can also be likened to a theatre curtain which rises to display the procession of pirates walking eagerly to meet their captain and chanting “Hook, give us the Hook!”. These confrontations, which are multiplied and expanded in the film, are treated with the full resources of animation: speed and agility of the characters, humorous repetition of movements, and tight synchronization of image and sound. Jason Isaacs speelt de rol van Kapitein Haak en van George Darling, terwijl Jeremy Sumpter de rol van Peter Pan vertolkte. Hook hat Peter schon fast besiegt als Wendy ihm einen richtigen Kuss gibt und somit ihre Liebe zu ihm bezeugt. The amazing setting Barrie has prepared completely transcends the tale being told, but it is only after Sylvia, her reticent mother and the children declare their faith in fairies – and by extension in the play and storytelling in general – that they are rewarded with an extraordinary utopic landscape inhabited with gracious winged women, some of them dancing and others swinging peacefully on lianas. Perf. 29 Quote extracted from the bonus material « La Magie de Neverland (Making of) » DVD Neverland. Official Sites New York: Carol Publishing Book, 1993. 35, Iss. 10Hence, through this “mise en scene” which merges camera movements, actors’ direction, settings and costumes, Spielberg builds up an atmosphere which reminds us of drama without neglecting the specificities of cinema. . The first performances took place in London as early as 1904, following which the play was quickly brought to New York, under the supervision of Barrie’s impresario and friend, Charles Frohman. Barrie's behaviour, throughout his life, betrayed a desire to leave his writings unstable and irresolute as he kept delaying the publication of the various texts for Peter Pan. When Peter eventually tears the sheet apart and discovers the new landscape he has set foot in, the camera ultimately places itself behind the sheet, so that the harbor is revealed like theatrical scenery behind the raised curtain. A few seconds later, the first of a series of encounters between Hook and the crocodile occurs. Die Synchronsprecher für die deutsche Fassung:[4], Vorlage:Rotten Tomatoes/Wartung/Verschiedene Kenner in Wikipedia und Wikidata, Freiwillige Selbstkontrolle der Filmwirtschaft, https://de.wikipedia.org/w/index.php?title=Peter_Pan_(2003)&oldid=191939970, „Creative Commons Attribution/Share Alike“. Props are important, as signaled by the close up on Smee’s clock, but also the captain’s never-seen-before cumbersome leather and metal shoulder contraption on which is eventually affixed and screwed the legendary hook. Moreover, he performs under the direction of Tinker Bell, who plays, hidden in his hat, the role of a stage director. In the play much of the action takes places inside a cabin, an offstage space, and the dramatic climax of the fight is achieved largely through sound effects22. It is probably because it originated from oral narratives and was generically reconfigured by its very creator, has been the ideal vector for directors to experiment with their art and offer hybrid aesthetics, underwent were, I argue, greatly instrumental in insuring the tale’s pertinence for contemporary audiences and therefore in keeping the interest in, alive throughout the years. Barrie, Peter Pan and Other Plays (Ed. It was an immediate and unanimous success everywhere it went from the very beginning. 12James Hook is described as such in J.M. », Allison B. Kavey. He often played villains. Nonetheless, however dark his first appearance in the intimate environment of his cabin is, it also contains theatrical dimensions and follows the tradition established by Barrie’s play and the filmic antecedents. 7Norman Garwood, the production design supervisor on Hook, explains in an interview: “Steven avait en tête un film très théâtral, dans le sens d’une espèce de studio hollywoodien très classique. It is also a conspicuous way for the directors to make their presence felt and hint at the fact they organize information and display actions in a certain way. Jeremy Sumpter (Peter Pan) groeide tijdens de opnames enkele centimeters waardoor de producenten de eindgevechten wat moesten aanpassen zodat het hoogteverschil tussen Peter en Haak bleef bestaan. Barrie’s interventionist voice both in the script of the play and in the novel11. J. M. Barrie's Peter Pan In And Out of Time: A Children's Classic at 100. Bossy, Cyrille. Its central element is the “Croc Clock”, a gigantic stuffed crocodile, undoubtedly the very one which used to terrify Hook and eventually succeeded in eating his prey in Barrie’s original tale. At the end of the scene, Sylvia walks into the magical world her garden has become, and the director uses this moment metaphorically to suggest her death. Paris: Bréal, 2004. »(Kavey, Friedman 205). Forster, Marc dir. Peter kan haar redden door te zeggen dat hij wel in elfjes gelooft. (RL), Jetzt auf Sky Ticket und 2 weiteren Anbietern anschauen, Die besten Streaming-Tipps gibt's im Moviepilot-Podcast Streamgestöber, Peter Pan - Die vielfältigen Versionen des Kinder-Stars, Ostersonntag im TV - Unsere Film-Tipps für Ostern 2018. Hook.Hook. Peter Pan. De actrice Lynn Redgrave speelde de rol van Tante Millicent, een nieuw persoon in deze film. It is probable it was partly due to material and technical reasons at the time, but the director might also have purposefully wanted this. Hogan, the production designer Roger Ford and the cinematographer Donald M. McAlpine (who also shot Baz Luhrmann’s”Moulin Rouge“) conjure a Neverland of lurid purple shadows and thick brightly colored foliage.”A.O. Peter Pan is a 1953 American animated musical fantasy adventure-drama produced by Walt Disney Productions and was based on the 1904 play Peter Pan, or The Boy Who Wouldn't Grow Up by J. M. Barrie. , the  »panto«  form began appearing on British playbills in the early eighteenth century […]. 33 Plana enlarges up on the benefits of the contacts between several art forms: « L'art conscient de lui même n'ignore pas les voisinages, les connexions entre les modes d'expression, les assume et, rejetant de plus en plus l'idée de sa « pureté », y voit un agent d'enrichissement, de remise en question productive, voire de progrès. Pan est un film fantastique américain réalisé par Joe Wright, sorti en 2015. Then his mood seems to change on a dime when he thinks about his other enemy, the crocodile. Doch sie hat noch einen weiteren Zuhörer: Peter Pan, der Junge, der niemals erwachsen wird. Darling, Wendys Vater. As in the other filmic adaptations, most of the attention is turned toward Hook while his pirates are not treated as individuals21 – with the exception of the right-hand man Smee – but as part of a crowd or just “the crew” in the scenes on the boat. This “Mise en Abyme” is one more hint at the existence of a connecting thread – the one of the dramatic origins– binding all the adaptations. 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