Felicia's Journey explores the 1999 film adaptation by Director, Atom Egoyan, of Irish writer William Trevor's novel of 1994.
Issues addressed include Hitchcockian influences, the sense of place in the visual discourse, and the characterization of the serial killer Hilditch, as constructed initially by Trevor and interpreted by Egoyan. Eschewing a crude "fidelity" model of adaptation, the study explores Egoyan's screen version as a commentary on, or significant reworking of, the original book. In particular, Egoyan's extension of the mother figure, through his creation of Gala, opens questions about memory, representation, and cinema's capacity as a reflexive medium which is a central feature of his film art.
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Hitchcock Genre and Felicias Journey
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abortion Atom Egoyan banal Barthes Bob Hoskins camera catering manager Celtic Tiger central character child cinema collection colonial context cover images crime fiction darker Dennis Potter dimension director's commentary dislocation Dublin echoes Egoyan's film Elaine Cassidy explores fantasies father fear Felicia Felicia's Journey film adaptation film's Fitzgerald-Hoyt flashback Gala Gale's genre Hilditch Hilditch's house Hilditch's memories Hitchcock's idealised identity imperial archive industrial intertextual Irish Film Irish Film Institute Jane Caputi Johnny Lysaght Julia Kristeva Kerry Babies kitchen Kristeva landscape locating London Martin Gale Memory Lane metaphorical Modleski museum narrative image Norman Bates obsession offers past photograph Plate popular songs postmodern presents readers realisation recalls relationship replay role Romney Routledge rural Ireland scenes screen sense serial killer small-town soundtrack story suggests textual theme thriller town Trevor's fiction Trevor's novel uncredited video archive visual registers visual style William Trevor woman