Remake, history and ideology: Hollywood and Ernest Hemingway’s a farewell to arms
Abstract This article analyses David O. Selznick’s 1957 adaptation of Ernest Hemingway’s A Farewell to Arms. In trying to shed light on the historical and ideological context of Selznick’s production, it shall be placed emphasis upon the influence of Frank Borzage’s previous adaptation of Hemingway’s work. This essay will also stress Selznick’s ambitions, that is, the fact that he wanted to emulate and improve the former adaptation of the novel. In spite of this, the comparison between both films reveals that the melodramatic structure of Selznick’s remake stems from the structure of Borzage’s film. Moreover, Selznick’s production could be seen as a case in point of the role played by deshistorization in cinematic remake.
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Barlowe, J. (2011). «They Have Rewritten It All»: Film Adaptations of A Farewell to Arms. The Hemingway Review, 31(1), 24-42.
Belton, J. (1974). The Hollywood Professionals: Howard Hawks, Frank Borzage, Edgar G. Ulmer. London: The Tantivy Press.
Bultrini, N., & Tentori, A. (2008). Il cinema della Grande Guerra. Chiari (Brescia): Nordpress Edizioni.
Cecchin, G. (1980). Con Hemingway e Dos Passos sui campi di battaglia italiani della Grande Guerra. Milano: Mursia.
Cerulo, K. A. (1995). Identity Designs: The Sights and Sounds of a Nation. New Brunswick, NJ: Rutgers University Press.
Cirino, M. (2014). The Nasty Mess: Hemingway, Italian Fascism, and the New Review Controversy of 1932. The Hemingway Review, 33(2), 30-47.
Corkin, S. (1989). Hemingway, Film, and U.S. Culture: In Our Time and The Birth of a Nation. En C. M. Oliver (Ed.), A Moving Picture Feast: The Filmgoer’s Hemingway (pp. 148-161). New York, NY: Praeger.
De Pablo, A. (2011). El Guernica, Adiós a las armas, Las Meninas y Alcaine. Cameraman. Revista técnica cinematográfica, 52, 52-61.
De Simone, C. (1995). L’Isonzo mormorava. Fanti e generali a Caporetto. Milano: Mursia.
Doherty, T. (2013). Hollywood and Hitler, 1933-1939. New York, NY: Columbia University Press.
Dumont, H. (2006). Frank Borzage: The Life and Films of a Hollywood Romantic. Jefferson, NC; London: McFarland.
Fortunati, V. (2006). Hemingway, the Embodiment of the American Myth, and Italian Leftist Writers. En R. Sanderson (Ed.), Hemingway’s Italy: New Perspectives (pp. 225-231). Baton Rouge, LA: Louisiana State University Press.
Gabaccia, D. R. (2000). Italy’s Many Diasporas. Seattle, WA: University of Washington Press.
Ghigi, G. (2014). Le ceneri del passato: Il cinema racconta la Grande Guerra. Soveria Mannelli (Catanzaro): Rubbettino Editore.
Glazer, B., & Garrett, O. H. P. (1932). A Farewell to Arms: Screenplay; from the Novel by Ernest Hemingway. (Manuscrito).
Grindon, L. (1990). Risorgimento History and Screen Spectacle: Visconti’s Senso. En R. Sklar & C. Musser (Eds.), Resisting Images: Essays on Cinema and History (pp. 225-250). Philadelphia, PA: Temple University Press.
Grissom, C. U. (2014). Fitzgerald and Hemingway on Film: A Critical Study of the Adaptations, 1924-2013. Jefferson, NC; London: McFarland.
Hecht, B. (1957). A Farewell to Arms: Screenplay. (Manuscrito).
Hemingway, E. (1985). Dateline: Toronto. The Complete Toronto Star Dispatches, 1920-1924. W. White (Ed.). New York, NY: Scribner.
Hemingway, E. (1995) A Farewell to Arms. New York, NY: Simon and Schuster.
Hemingway, E. (2013). The Letters of Ernest Hemingway. Volume 2. 1923–1925. S. Spanier, A. J., De Fazio III, & R. W. Trogdon (Eds.). Cambridge: Cambridge University Press.
Hotchner, A. E. (2005). Papa Hemingway. A Personal Memoir. Cambridge, MA: Da Capo Press.
Huston, J. (1980). An Open Book. New York, NY: Alfred A. Knopf.
Hutcheon, L. (2006). A Theory of Adaptation. London; New York, NY: Routledge.
Keating, P. (2010). Hollywood Lighting: From the Silent Era to Film Noir. New York, NY: Columbia University Press.
Kelly, A. (1999). All Quiet on the Western Front. The Story of a Film. London; New York, NY: I. B. Tauris.
Laurence, F. M. (1982). Hemingway and the Movies. New York, NY: Da Capo Press.
Leff, L. J. (1999). Hemingway and his Conspirators. Hollywood, Scribners, and the Making of America Celebrity Culture. Lanham, MD: Rowman & Littlefield.
Leitch, T. M. (2002). Twice-Told Tales: Disavowal and the Rhetoric of the Remake. En J. Forrest & L. R. Koos (Eds.), Dead Ringers: The Remake in Theory and Practice (pp. 37–62). Albany, NY: State University of New York Press.
McElhaney, J. (2003). Frank Borzage: Architect of Ineffable Desires. Senses of Cinema, 25. Recuperado el 17 de marzo de 2017 de http://www.sensesofcinema.com/2003/great-directors/borzage/
Negulesco, J. (1984). Things I Did… and Things I Think I Did. New York, NY: Simon & Schuster.
Ott, M. P. (2005). Nick Adams at a Windy Cross Roads: Echoes of Past and Future Fictions in Ernest Hemingway’s «Che Ti Dice la Patria?». The Hemingway Review, 24(2), 18-27.
Phillips, G. D. (1980). Hemingway and Film. New York, NY: Frederic Ungar.
Pozorski, A. L. (2004). Infantry and Infanticide in A Farewell to Arms. The Hemingway Review, 23(2), 75-98.
Reynolds, M. (1976). Hemingway’s First War: The Making of a Farewell to Arms. Princeton, NJ: Princeton University Press.
Rochat, G. (2006). L’esercito italiano da Vittorio Veneto a Mussolini, 1919-1925. Bari: Laterza.
Rubin, M. (2007). 1933: Movies and the New Deal in Entertainment. En I. R. Hark (Ed.), American Cinema of the 1930s: Themes and Variations (pp. 92- 116). New Brunswick, NJ: Rutgers University Press.
Selznick, D. (2000). Memo from David O. Selznick. Rudy Behlmer (Ed.). New York, NY: Random House.
Thompson, M. (2008). The White War: Life and Death on the Italian Front, 1915-1919. London: Faber and Faber.
Urwand, B. (2013). The Collaboration: Hollywood’s Pact with Hitler. Cambridge, MA: The Belknap Press of Harvard University Press.
Verevis, C. (2006). Film Remakes. Edinburgh: Edinburgh University Press.
Waldhorn, A. (1972). A Reader’s Guide to Ernest Hemingway. Syracuse, NY: Syracuse University Press.
Watts, E. S. (1971). Ernest Hemingway and the Arts. Urbana, IL: University of Illinois Press.
Belton, J. (1974). The Hollywood Professionals: Howard Hawks, Frank Borzage, Edgar G. Ulmer. London: The Tantivy Press.
Bultrini, N., & Tentori, A. (2008). Il cinema della Grande Guerra. Chiari (Brescia): Nordpress Edizioni.
Cecchin, G. (1980). Con Hemingway e Dos Passos sui campi di battaglia italiani della Grande Guerra. Milano: Mursia.
Cerulo, K. A. (1995). Identity Designs: The Sights and Sounds of a Nation. New Brunswick, NJ: Rutgers University Press.
Cirino, M. (2014). The Nasty Mess: Hemingway, Italian Fascism, and the New Review Controversy of 1932. The Hemingway Review, 33(2), 30-47.
Corkin, S. (1989). Hemingway, Film, and U.S. Culture: In Our Time and The Birth of a Nation. En C. M. Oliver (Ed.), A Moving Picture Feast: The Filmgoer’s Hemingway (pp. 148-161). New York, NY: Praeger.
De Pablo, A. (2011). El Guernica, Adiós a las armas, Las Meninas y Alcaine. Cameraman. Revista técnica cinematográfica, 52, 52-61.
De Simone, C. (1995). L’Isonzo mormorava. Fanti e generali a Caporetto. Milano: Mursia.
Doherty, T. (2013). Hollywood and Hitler, 1933-1939. New York, NY: Columbia University Press.
Dumont, H. (2006). Frank Borzage: The Life and Films of a Hollywood Romantic. Jefferson, NC; London: McFarland.
Fortunati, V. (2006). Hemingway, the Embodiment of the American Myth, and Italian Leftist Writers. En R. Sanderson (Ed.), Hemingway’s Italy: New Perspectives (pp. 225-231). Baton Rouge, LA: Louisiana State University Press.
Gabaccia, D. R. (2000). Italy’s Many Diasporas. Seattle, WA: University of Washington Press.
Ghigi, G. (2014). Le ceneri del passato: Il cinema racconta la Grande Guerra. Soveria Mannelli (Catanzaro): Rubbettino Editore.
Glazer, B., & Garrett, O. H. P. (1932). A Farewell to Arms: Screenplay; from the Novel by Ernest Hemingway. (Manuscrito).
Grindon, L. (1990). Risorgimento History and Screen Spectacle: Visconti’s Senso. En R. Sklar & C. Musser (Eds.), Resisting Images: Essays on Cinema and History (pp. 225-250). Philadelphia, PA: Temple University Press.
Grissom, C. U. (2014). Fitzgerald and Hemingway on Film: A Critical Study of the Adaptations, 1924-2013. Jefferson, NC; London: McFarland.
Hecht, B. (1957). A Farewell to Arms: Screenplay. (Manuscrito).
Hemingway, E. (1985). Dateline: Toronto. The Complete Toronto Star Dispatches, 1920-1924. W. White (Ed.). New York, NY: Scribner.
Hemingway, E. (1995) A Farewell to Arms. New York, NY: Simon and Schuster.
Hemingway, E. (2013). The Letters of Ernest Hemingway. Volume 2. 1923–1925. S. Spanier, A. J., De Fazio III, & R. W. Trogdon (Eds.). Cambridge: Cambridge University Press.
Hotchner, A. E. (2005). Papa Hemingway. A Personal Memoir. Cambridge, MA: Da Capo Press.
Huston, J. (1980). An Open Book. New York, NY: Alfred A. Knopf.
Hutcheon, L. (2006). A Theory of Adaptation. London; New York, NY: Routledge.
Keating, P. (2010). Hollywood Lighting: From the Silent Era to Film Noir. New York, NY: Columbia University Press.
Kelly, A. (1999). All Quiet on the Western Front. The Story of a Film. London; New York, NY: I. B. Tauris.
Laurence, F. M. (1982). Hemingway and the Movies. New York, NY: Da Capo Press.
Leff, L. J. (1999). Hemingway and his Conspirators. Hollywood, Scribners, and the Making of America Celebrity Culture. Lanham, MD: Rowman & Littlefield.
Leitch, T. M. (2002). Twice-Told Tales: Disavowal and the Rhetoric of the Remake. En J. Forrest & L. R. Koos (Eds.), Dead Ringers: The Remake in Theory and Practice (pp. 37–62). Albany, NY: State University of New York Press.
McElhaney, J. (2003). Frank Borzage: Architect of Ineffable Desires. Senses of Cinema, 25. Recuperado el 17 de marzo de 2017 de http://www.sensesofcinema.com/2003/great-directors/borzage/
Negulesco, J. (1984). Things I Did… and Things I Think I Did. New York, NY: Simon & Schuster.
Ott, M. P. (2005). Nick Adams at a Windy Cross Roads: Echoes of Past and Future Fictions in Ernest Hemingway’s «Che Ti Dice la Patria?». The Hemingway Review, 24(2), 18-27.
Phillips, G. D. (1980). Hemingway and Film. New York, NY: Frederic Ungar.
Pozorski, A. L. (2004). Infantry and Infanticide in A Farewell to Arms. The Hemingway Review, 23(2), 75-98.
Reynolds, M. (1976). Hemingway’s First War: The Making of a Farewell to Arms. Princeton, NJ: Princeton University Press.
Rochat, G. (2006). L’esercito italiano da Vittorio Veneto a Mussolini, 1919-1925. Bari: Laterza.
Rubin, M. (2007). 1933: Movies and the New Deal in Entertainment. En I. R. Hark (Ed.), American Cinema of the 1930s: Themes and Variations (pp. 92- 116). New Brunswick, NJ: Rutgers University Press.
Selznick, D. (2000). Memo from David O. Selznick. Rudy Behlmer (Ed.). New York, NY: Random House.
Thompson, M. (2008). The White War: Life and Death on the Italian Front, 1915-1919. London: Faber and Faber.
Urwand, B. (2013). The Collaboration: Hollywood’s Pact with Hitler. Cambridge, MA: The Belknap Press of Harvard University Press.
Verevis, C. (2006). Film Remakes. Edinburgh: Edinburgh University Press.
Waldhorn, A. (1972). A Reader’s Guide to Ernest Hemingway. Syracuse, NY: Syracuse University Press.
Watts, E. S. (1971). Ernest Hemingway and the Arts. Urbana, IL: University of Illinois Press.
Lena Ordóñez, A. J. (2017). Remake, history and ideology: Hollywood and Ernest Hemingway’s a farewell to arms. Fonseca, Journal of Communication, 14(14), 75–89. https://doi.org/10.14201/fjc2017147589
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