scholarly journals Film Adaptation as an Act of Communication: Adopting a Translation-oriented Approach to the Analysis of Adaptation Shifts

2017 ◽  
Vol 62 (1) ◽  
pp. 3-18 ◽  
Author(s):  
Katerina Perdikaki
Keyword(s):  
Film Review ◽  
Translation Studies ◽  
Film Adaptation ◽  
Film Adaptations ◽  
The Novel ◽  
Adaptation Studies ◽  
Artistic Value ◽  
Bidirectional Communication ◽  
Communication Context ◽  
Oriented Approach

Contemporary theoretical trends in Adaptation Studies and Translation Studies (Aragay 2005; Catrysse 2014; Milton 2009; Venuti 2007) envisage synergies between the two areas that can contribute to the sociocultural and artistic value of adaptations. This suggests the application of theoretical insights derived from Translation Studies to the adaptation of novels for the screen (i.e., film adaptations). It is argued that the process of transposing a novel into a filmic product entails an act of bidirectional communication between the book, the novel and the involved contexts of production and reception. Particular emphasis is placed on the role that context plays in this communication. Context here is taken to include paratextual material pertinent to the adapted text and to the film. Such paratext may lead to fruitful analyses of adaptations and, thus, surpass the myopic criterion of fidelity which has traditionally dominated Adaptation Studies. The analysis uses examples of adaptation shifts (i.e., changes between the source novel and the film adaptation) from the filmP.S. I Love You(LaGravenese 2007), which are examined against interviews of the author, the director and the cast, the film trailer and one film review.

‘Their Voices Ring in My Ears’: Laura, the Fugue, and Adaptation

Adaptation ◽  
2020 ◽  
Author(s):  
Margaret A Toth ◽  
Teresa Ramoni
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Adaptation Studies

Abstract This essay analyzes Vera Caspary’s novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a ‘subject’ or short melodic phrase and its various ‘answers’—in other words, variations that maintain elements of the melody but also play with and revise it—how might we position the film as a variation on, rather than a reproduction of, Caspary’s novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn’t want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film—not simply the dialogue but also the voiceover narration and David Raksin’s groundbreaking score—allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances that get lost in a strict fidelity approach; in particular, we can identify both works’ feminist content, especially their attempts to decentre patriarchal hard-boiled conventions and to confound notions of a singular truth.

scholarly journals THE PHENOMENON OF DISRUPTED COMMUNICATION IN THE NOVEL “EFFI BRIEST” BY THEODOR FONTANE AND IN THE FILM ADAPTATION BY RAINER WERNER FASSBINDER: SPEECH AND GESTURE

2021 ◽  
Vol 6 (3) ◽  
pp. 49-72
Author(s):  
Александра Владимировна Елисеева
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Close Reading ◽  
Theodor Fontane ◽  
The Novel ◽  
Hierarchical Relationship ◽  
The Subject ◽  
Effi Briest

The subject of this article’s comparative intermedial analysis is the phenomenon of disrupted communication in the novel by the German writer Theodor Fontane “Effi Briest” (1895) and in the film adaptation of this work by Rainer Werner Fassbinder “Fontane Effi Briest” (1974). The article consists of five parts: 1) introduction; 2) analysis of dialogues in Fontane’s novel; 3) description of the means of creating the effect of disrupted communication in Fassbinder’s film; 4) comparative analysis of some fragments of two works by the method of close reading; 5) conclusions. Methodologically, the research is based on the achievements of the theory of communication, carpalistics, comparative and intermedial approaches to the study of film adaptations. The main point of the article is that the effect of disrupted communication, which is observed in numerous dialogues of Fontane’s novel, is also created by visual means in Fassbinder’s film, among which a significant place is occupied by a gesture. The gesture of turning away deserves special attention: the characters of the film turn away from each other, turn their backs to the interlocutor and the viewer, turn to their reflection. The unconventionality and intensity of such gestures accentuate the problematic nature of communication between the characters. This structure, peripheral in Fontane’s work, becomes central in the film of Fassbinder, grasping the viewers’ attention. In this regard, the article adds to a traditional discussion about the hierarchical relationship between a literary text and its film adaptation.

scholarly journals VICTORIAN LITERATURE AND FILM ADAPTATION

2017 ◽  
Vol 45 (2) ◽  
pp. 451-459 ◽  
Author(s):  
Antonija Primorac
Keyword(s):  
Victorian Literature ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Hierarchical Approach ◽  
Adaptation Studies ◽  
Early Twenty ◽  
The One ◽  
The Uk ◽  
Work Done ◽  
Literature And Film

“The book was nothing likethe film,” complained one of my students about a week or so after the premiere of Tim Burton'sAlice in Wonderland(2010). Barely able to contain his disgust, he added: “I expected it to be as exciting as the film, but it turned out to be dull – and it appeared to be written for children!” Stunned with the virulence of his reaction, I thought how much his response to the book mirrored – as if through a looking glass – that most common of complaints voiced by many reviewers and overheard in book lovers’ discussions of film adaptations: “not as good as the book.” Both views reflect the hierarchical approach to adaptations traditionally employed by film studies and literature studies respectively. While adaptations of Victorian literature have been used – with more or less enthusiasm – as teaching aides as long as user-friendly video formats were made widely available, it is only recently that film adaptation started to be considered as an object of academic study in its own right and on an equal footing with works of literature (or, for that matter, films based on original screenplays). Adaptation studies came into its own in early twenty-first century on the heels of valuable work done by scholars such as Brian McFarlane (1996), Deborah Cartmell and Imelda Whelehan (1999), James Naremore (2000), Robert Stam (2000), Sarah Cardwell (2002), and Kamilla Elliott (2003) which paved the way for a consideration of film adaptations beyond the fidelity debate. The field was solidified with the establishment in 2006 of the UK-based Association of Literature on Screen Association (called Association of Adaptation Studies from 2008) and the inception of its journalAdaptation, published by Oxford University Press, in 2008. Interdisciplinary in nature, the field primarily brought together literature and film scholars who insisted that adaptations were more than lamentably unfaithful or vulgar versions of literature mired in popular culture and market issues on the one hand, or merely derivative, impure cinema on the other. The foundational tenets of adaptation studies therefore included a non-judgemental and non-hierarchical approach to the relationship between the text and its adaptation, and a keen awareness of film production contexts. These vividly illustrate the field's move away from discussing fidelity to the “original” which, thanks to the work of Linda Hutcheon (2006), started to be increasingly referred to simply as “adapted text.” Hutcheon's book came out at the same time as another foundational monograph on the subject, Julie Sanders'sAdaptation and Appropriation(2005) which contributed to the debate through its focus on intertextual links and the palimpsestuous nature of adaptations, in which debate on fidelity was substituted with the analysis of the distance between the text and its adaptation(s).

Children’s Meta-adaptation

2019 ◽  
pp. 152-177
Author(s):  
Casie E. Hermansson
Keyword(s):  
Case Studies ◽  
Film Adaptation ◽  
Film Adaptations ◽  
The Novel ◽  
Scholarly Work

This chapter concludes the book by identifying a subset of film adaptations of children’s metafictions that function as meta-adaptations. Although scholarly work on meta-adaptation is still emergent, it is clear that children’s genres already engage this mode. The chapter argues that while ‘metafilm’ is a problematic ‘equivalence’ for metafiction, meta-adaptation lifts the curtain on the otherwise-hidden processes of adaptation itself. The chapter presents the phrase ‘breaking the fifth wall’ for meta-adaptation. The chapter provides case studies of two book to film adaptations to illustrate two different but prominent types of meta-adaptation: The Invention of Hugo Cabret/Hugo, and the novel series A Series of Unfortunate Events and both the novels’ film adaptation and Netflix series (season 1).

scholarly journals Translation and Adaptation as Recontextualization: The Case of The Snowman

Adaptation ◽  
2019 ◽  
Vol 12 (3) ◽  
pp. 240-256 ◽  
Author(s):  
Annjo K Greenall ◽  
Eli Løfaldli
Keyword(s):  
Translation Studies ◽  
Critical Reception ◽  
Film Adaptations ◽  
Sample Analysis ◽  
Adaptation Studies ◽  
Integrated Framework ◽  
Artificial Boundaries ◽  
Point Of Departure

Abstract In this article, we propose an integrated framework especially, but not exclusively, tailored to the analysis of multisemiotic transfers/transformations that involve both linguistic and non-linguistic elements. The framework is based on the Swedish communication scholar Per Linell’s notion of recontextualization. This concept, which denotes the process of inserting an element from one context into another, thereby effecting some kind of transformation, is theoretically prior to both of the concepts ‘adaptation’ and ‘translation’ as they are prototypically understood, and encompasses them. Thus, taking this concept as a point of departure allows us to avoid artificial boundaries between that which is commonly considered to be adaptation-studies concerns, and that which is considered to be translation-studies concerns, in analyses of multisemiotic transfers/transformations such as film adaptations. By introducing a flexible set of ‘levels’ of recontextualization (medial, generic, cultural, ideological, and linguistic) and deploying them in a sample analysis of the immediate critical reception of Tomas Alfredson’s international reworking of Jo Nesbø’s The Snowman, we show how these levels work together to create various interpretative possibilities and effects for viewers. Finally, we argue that an integrated framework based around the notion of recontextualization will also be applicable in analyses of non-translation/non-adaptation texts, allowing comparisons of recontextualization phenomena across communicative forms.

scholarly journals Film Adaptation as the Art of Expansion

2018 ◽  
Author(s):  
Polina Rybina
Keyword(s):  
Film Adaptation ◽  
Literary Texts ◽  
Film Adaptations ◽  
Adaptation Process ◽  
New Wave ◽  
Adaptation Studies ◽  
Visual Poetics ◽  
Film Style

his article discusses changes in central metaphors through which contemporary adaptation studies strive to chart the enormous territory of film adaptations that exists today. Previously concerned with privileging literary texts over their media ‘replays’, these ‘new wave’ studies tend to prioritize other aspects of the adaptation process: intertextual overwriting (Stam 2005), reappropriation of the literary past for the sake of the present (Sanders 2015), exploitation of literature (Cartmell 2017), etc. Departing from the metaphor of ‘competition’ between media (Jameson 2011), we suggest that the adaptation process be discussed as the art of expansion. The key issue in this research lies in bringing to the forefront the filmmaker’s visual poetics and the place his/her adaptation has among other cinematic works of the same period. This article shows how Marleen Gorris’s Mrs. Dalloway (1997) reveals its ‘expansive’ potential when read both through the lens of the heritage film style and the previous filmmaker’s work, Antonia’s Line (1995).

STYLISTIC CHARACTERISTICS OF THE TEXT OF JAMES JOYCE`"ULYSSES"

2020 ◽  
Vol 2 (3) ◽  
pp. 58-67
Author(s):  
Aygul Ochilova ◽  
Keyword(s):  
James Joyce ◽  
Russian Literature ◽  
Translation Studies ◽  
The Novel

Although the work of James Joyce has been studied in English and Russian literature and translation, it has not been studied in detail in Uzbek literature and translation studies. In this work, along with revealing the problems of tradition and innovation in the work of J. Joyce, we study how the stylistic means used in the text of the novel "Ulysses" are preserved in the Russian and Uzbek translations by means of comparative-typological analysis of the original and translated texts. We identify alternatives and non-alternatives to the original Russian and Uzbek translations

PROBLEMS OF EQUIVALENCE AND ADEQUACY IN THE TRANSLATION OF THE NOVEL “NAVOI” BY AYBEK

2020 ◽  
Vol 5 (3) ◽  
pp. 153-160
Author(s):  
Elmurod Tursunov ◽  
Keyword(s):  
Translation Studies ◽  
Point Of View ◽  
The Novel ◽  
Alternative Translation

Some inappropriatenesses and defects on the issue of equivalence and adequacy in the translated version of the novel “Navoi” by Aybek are revealed in this article. These inappropriatenesses and defects are described in great detail with the help of examples and alternative translation variants are suggested, the problems of equivalence and adequacy in translation studies are researched from the scientific point of view, as well as, views and comments of the Uzbek and foreign translators and scientists are provided on theissue of the two concepts

DRAMATIC ELEMENTS IN DASHNER’S MAZE RUNNER NOVEL AND FILM ADAPTATION

2020 ◽  
Vol 2 (2) ◽  
pp. 80-88
Author(s):  
Anggia Putria ◽  
Muizzu Nurhadi
Keyword(s):  
Qualitative Method ◽  
Film Adaptation ◽  
The Novel ◽  
Descriptive Qualitative

The research aims to reveal how the application of dramatic elements of Dashner’s Maze Runner is transformed into its film adaptation. To achieve the purpose, the researcher analyzes seven dramatic elements by Gustav Freytag’s Pyramid which consist of exposition, inciting moment, rising action, climax, falling action, resolution, and denouement. This research uses the descriptive qualitative method. The results of this research are the differences of the dramatic elements in the novel and film adaptation are not significant because only the scenes of exposition and rising action are not similar.

Materializing Ulysses

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Twentieth Century ◽  
Film Adaptation ◽  
The Novel ◽  
Perceived Power

This chapter compares the reception of Joyce’s 1922 Ulysses with that of Joseph Strick’s 1967 film adaptation of the novel. Although Ulysses had been legally publishable in England for decades, Strick’s film still encountered censorship from the British Board of Film Censors. The chapter argues that Joyce’s novel, for all its obscenity and provocation, mitigated its threat by foregrounding its own printedness, allying its fate to the waning power of print as a bearer of obscenity. Strick’s film, by contrast, activated the perceived power of film. The contrast of the two versions of Ulysses, which are often identical in language, thus offers a valuable window on how obscenity changed across media through the twentieth century. In making this argument, the chapter surveys print strategies of censorship, including the asterisk, and how these strategies operated in a range of works.

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