Based on (a work by) Ernest Hemingway: The author as fictionalized celebrity

Simple item page
dc.contributor.authorPenner, Timothy
dc.contributor.examiningcommitteeToles, George (English, Film, and Theatre)en_US
dc.contributor.examiningcommitteeElvins, Sarah (History)en_US
dc.contributor.examiningcommitteeNowlin, Michael (University of Victoria)en_US
dc.contributor.supervisorAustin-Smith, Brenda (English, Film, and Theatre)en_US
dc.date.accessioned2020-09-08T20:09:50Z
dc.date.available2020-09-08T20:09:50Z
dc.date.copyright2020-08-24
dc.date.issued2020-08en_US
dc.date.submitted2020-08-24T21:23:47Zen_US
dc.degree.disciplineEnglish, Film and Theatreen_US
dc.degree.levelDoctor of Philosophy (Ph.D.)en_US
dc.description.abstractErnest Hemingway – bestselling author, journalist, winner of the Nobel and Pulitzer prizes for literature – is a famous person; however, like so many famous people, Hemingway’s celebrity allure is derived from much more than his work. It is for this reason that today Hemingway is better known for his associations with macho pursuits like fishing, big game hunting, bullfighting, war, and womanizing, and as a spokesperson for an amorphous lifestyle brand based on authenticity and nostalgia for some imagined golden age of masculinity. The aim of this dissertation is to trace the influence cinema, and later television, have had on the development of Hemingway’s celebrity persona as it changed from scrappy literary modernist to near-mythological figure. By employing the insights of celebrity studies, this study explores the ways Hollywood continually drew from both Hemingway’s work and life as it attempted to translate something of his charismatic personal appeal to the screen. As the twentieth century progressed, adaptations became central to what Richard Dyer would call Hemingway’s “structured polysemy.” Films like The Snows of Kilimanjaro and Hemingway’s Adventures of a Young Man, for instance, saw a blurring of the lines between Hemingway’s literature and his life that meant that the narratives were as much about him as they were adaptations of his stories. In the years since his death, a number of movies and TV series have dramatized Hemingway as a character. In these media texts, Hemingway appears as a pugnacious, and adventurous exemplar of masculinity rather than as a hard-working creative writer. Midnight in Paris (2011) has, in particular, established an influential image of Hemingway, one that is part of a continuum of characterizations. The result of these characterizations is that over time, Hemingway has become a fictionalized celebrity, what I call a fictocel. Aided by the processes of cinema and television appropriation and adaptation, the Hemingway fictocel, I argue, eventually replaces the historical person and author in the popular imagination.en_US
dc.description.noteOctober 2020en_US
dc.identifier.urihttp://hdl.handle.net/1993/34996
dc.language.isoengen_US
dc.rightsopen accessen_US
dc.subjectErnest Hemingwayen_US
dc.subjectCelebrity studiesen_US
dc.subjectAdaptation studiesen_US
dc.subjectFilm Studiesen_US
dc.subjectLiterature studiesen_US
dc.subjectFictionalized celebrityen_US
dc.subjectCinemaen_US
dc.subjectTwentieth century popular cultureen_US
dc.subjectTelevisionen_US
dc.subjectCelebrityen_US
dc.subjectFilm Adaptationsen_US
dc.subjectCelebritiesen_US
dc.subjectCelebrity Cultureen_US
dc.titleBased on (a work by) Ernest Hemingway: The author as fictionalized celebrityen_US
dc.typedoctoral thesisen_US
Files
Original bundle
Now showing 1 - 1 of 1
Thumbnail Image
Name:
Penner_Timothy.pdf
Size:
6.36 MB
Format:
Adobe Portable Document Format
Description:
Download
License bundle
Now showing 1 - 1 of 1
Thumbnail Image
Name:
license.txt
Size:
2.2 KB
Format:
Item-specific license agreed to upon submission
Description:
Download
Collections
FGS - Electronic Theses and Practica