David Copperfield (1850–51) is a novel about memory and the power of memory to evoke reflections drawn from the past. In a series of strikingly visual images, events from the protagonist’s early life and subsequent growth unfold in a manner critics have identified as precinematic. David Copperfield, writes Grahame Smith, anticipates specific filmic techniques; and this novel, as well as his works, have “played some part, however small, in the cultural and material movements that eventually made [cinema] possible” (Smith 10).1 Not surprisingly, the novel has proved popular with adaptors, drawn to a work in which the protagonist reflects in nostalgic terms on his past, whose life also presents an opportunity for directors to dwell on the whole nation as well. Thus, despite obvious cultural differences between the novel and the film, the 1966 RAI Italian version of David Copperfield offered the director, Anton Giulio Majano, a chance to combine the hero’s personal memories with reflections on the nation at a particular time in history. The film considered as the cornerstone of all successive contemporary cinematic adaptations of David Copperfield is David O. Selznick’s MetroGoldwyn-Mayer production, directed by George Cukor in 1935. It is emblematic that, on 16 May 1934, the producer, the director and the representatives of Hollywood’s cinematographic empire met members of the board of the Dickens Fellowship in a room of London’s Savoy Hotel. The purpose of the meeting was to find common ground between the necessities of the American market and the typically British spirit of Dickens’s novel. The result was to have a Dickensian scholar, J. C. Fildes, play Wilkins Micawber as a replacement for Charles Laughton (who had been originally

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记住狄更斯：意大利电视上的大卫科波菲尔

大卫科波菲尔（1850-51）是一部关于记忆和记忆的力量的小说，它唤起了人们对过去的反思。在一系列引人注目的视觉图像中，主人公早年生活和随后的成长中的事件以评论家认为是前戏的方式展开。大卫科波菲尔，格雷厄姆史密斯写道，期待特定的电影技术；这部小说以及他的作品“在最终使[电影]成为可能的文化和物质运动中发挥了一定的作用，无论多么小”（史密斯 10）。 1 毫不奇怪，这部小说受到改编者的欢迎，这部作品中主人公以怀旧的方式反映了他的过去，他的生活也为导演提供了一个思考整个国家的机会。因此，尽管小说和电影之间存在明显的文化差异，1966 年 RAI 意大利版的大卫·科波菲尔为导演安东·朱利奥·马亚诺提供了一个机会，可以将英雄的个人记忆与在特定历史时期对国家的反思结合起来。这部电影被认为是大卫·科波菲尔所有连续当代电影改编的基石，是大卫·O·塞尔兹尼克的 MetroGoldwyn-Mayer 作品，由乔治·库克 (George Cukor) 于 1935 年执导。具有象征意义的是，1934 年 5 月 16 日，制片人、导演和代表好莱坞电影帝国的一位成员在伦敦萨沃伊酒店的一个房间里会见了狄更斯奖学金的董事会成员。会议的目的是在美国市场的必需品和狄更斯小说中典型的英国精神之间找到共同点。结果是有一位狄更斯学者 JC Fildes，