出版社：Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza w Poznaniu
摘要：Lewicki Arkadiusz, Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach [The Easy Route to Melancholy. 451 degrees Fahrenheit by Ray Bradbury and its Film Adaptations]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 257–272. ISSN 1644-6763. DOI 10.14746/pt.2019.32.13. The article is an attempt to interpret Ray Bradbury’s anti-utopian novel 451 degrees Fahrenheit, published in 1953, and two film adaptations of this book: the film directed in 1966 by François Truffaut and Ramin Bahran television adaptation from 2018. All versions have a similar story structure and tell about the near future, in which the main task of the fire department is burning books. The differences consist in shifts of emphasis within the world presented. The author proves that the 1966version shows a possible world, which is “an audio world”, while in Ramin Bahrani’s work we are dealing with the “pictorial world”; in the 1966 film the written word is replaced by sounds and the spoken word, and in the version from 2018 by paintings. These differences indicate not only different possibilities for interpreting Ray Bradbury’s novel, but also transformations that took place at different levels of the reality surrounding us.
其他摘要：Lewicki Arkadiusz, Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach [The Easy Route to Melancholy. 451 degrees Fahrenheit by Ray Bradbury and its Film Adaptations]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 257–272. ISSN 1644-6763. DOI 10.14746/pt.2019.32.13. The article is an attempt to interpret Ray Bradbury’s anti-utopian novel 451 degrees Fahrenheit, published in 1953, and two film adaptations of this book: the film directed in 1966 by François Truffaut and Ramin Bahran television adaptation from 2018. All versions have a similar story structure and tell about the near future, in which the main task of the fire department is burning books. The differences consist in shifts of emphasis within the world presented. The author proves that the 1966version shows a possible world, which is “an audio world”, while in Ramin Bahrani’s work we are dealing with the “pictorial world”; in the 1966 film the written word is replaced by sounds and the spoken word, and in the version from 2018 by paintings. These differences indicate not only different possibilities for interpreting Ray Bradbury’s novel, but also transformations that took place at different levels of the reality surrounding us.
