Jump to ContentJump to Main Navigation
Border CrossingRussian Literature into Film$
Users without a subscription are not able to see the full content.

Alexander Burry and Frederick White

Print publication date: 2016

Print ISBN-13: 9781474411424

Published to Edinburgh Scholarship Online: January 2018

DOI: 10.3366/edinburgh/9781474411424.001.0001

Show Summary Details
Page of

PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 05 July 2022

Dostoevskii’s “White Nights”: The Dreamer Goes Abroad

Dostoevskii’s “White Nights”: The Dreamer Goes Abroad

(p.40) Chapter 2 Dostoevskii’s “White Nights”: The Dreamer Goes Abroad
Border Crossing

Ronald Meyer

Edinburgh University Press

This chapter explores four versions of Dostoevskii’s 1848 story “White Nights,” whose nameless protagonist, referred to as the Dreamer, inspired many directors to transpose this early Dostoevskian short work into film. The focus is on four directors: Luchino Visconti, Robert Bresson, Sanjay Bhansali, and José Luis Guerín. As is argued in the chapter, each director takes a different approach to recontextualizing the first-person narrative in various locations, times, and cinematic traditions, ranging from Italian neo-realism and post-1968 Paris to Bollywood and Strasbourg. The author argues that the contemporary directors, Bhansali and Guerín take not only Dostoevskii’s story, but also, respectively, the earlier adaptations by Visconti and Bresson as their subtexts, thus forming a complex chain of intertextual connections.

Keywords:   Bhansali, Bollywood, Bresson, Dostoevskii, Guerín, intertextual, neo-realism, Visconti

Edinburgh Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.