Ulysses at the Movies

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Norris, Margot

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서울대학교 인문대학 인문학연구원
인문논총, Vol.52, pp. 3-21
James Joyce loved movies, and was not averse to the idea that his 1922 novel
Ulysses could be made into a film. Although the idea was explored in his lifetime,
no films of the novel were made until many years after his death. We now have
two films of Joyces Ulysses: the 1967 black-and-white Ulysses by American
filmmaker Joseph Strick, and the 2003 color film called Bloom, by Irish filmmaker
Sean Walsh. Both films are independent productions inspired by admiration for
Joyces art, and they are consequently remarkably faithful to the novels language,
characters, and plot. Their differences, however, are instructive. Although Joseph
Strick moves the time of the film to 1960s Ireland, when the novels Irish politics
may have lost much of their relevance, his film nonetheless has a sharper political
edge than Walshs period film set in its own time in 1904. The two films also
present visually divergent representations of Dublin, with Walshs cinematography
offering a much more pastoral, beautiful, and sunny image of turn-of-the century
Irish living than Stricks bleaker, more impoverished city. And in their handling of
the narrative, the two films offer divergent interpretations of the novels outcome,
with Strick pointing toward a happier resolution and Walsh to a less likely reconciliation for the Bloom marriage.
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College of Humanities (인문대학)Institute of Humanities (인문학연구원)Journal of humanities (인문논총)Journal of Humanities vol.52 (2004) (인문논총)
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