The Intratextuality of Film Adaptation

2017 ◽  
Author(s):  
Jack Boozer
Keyword(s):  
Literary Work ◽  
Film Adaptation

By observing the authorial intentions on the part of the novelist and the adapted film’s producer, screenwriter, director, and cast, Chapter 11 examines the intratextual process at work in the transformation of Philip Roth’s novella The Dying Animal to the big screen as Elegy. The notion of serial authorship can capture the creative interaction of intentions characteristic of the multi-source nature of film adaptation, whose products serve two texts: the source literary work and the screenplay derived from it. The essay considers the hints of Roth’s personal views and autobiography implied through his narrator, David Kepesh, and this character’s relationships with women, as well as through the implied author’s own position as a writer—a self-conscious status the film does not engage.

scholarly journals Fairy-tale motifs in a translation of the film adaptation of the literary work Modrý lampáš (Das Blaue Licht)

Ars Aeterna ◽  
2020 ◽  
Vol 12 (2) ◽  
pp. 45-58
Author(s):  
Andrej Zahorák
Keyword(s):  
Conceptual Framework ◽  
Blue Light ◽  
Fairy Tale ◽  
Comprehensive Evaluation ◽  
Literary Work ◽  
Film Adaptation ◽  
Expressive Function ◽  
Audiovisual Work ◽  
Linguistic Reality ◽  
The Way

AbstractThe paper deals with the translation of the film adaptation of the literary work Das Blaue Licht (‘The Blue Light’), primarily intended for child recipients. The aim of this paper is to present a conceptual framework to describe specific aspects of communication-translation (translating children’s and youth literature, aspects of age and the projection of ideas in a different mode of adaptation), and subsequently provide a comprehensive evaluation related to the optimality of the chosen translation procedures and strategies in the Slovak dubbed version of the above-mentioned audiovisual work. The focus is on how the semantic and expressive function of the original is preserved, taking into account the way linguistic reality is depicted in communication with the child recipient.

scholarly journals CINEMA AS ONE OF THE MAIN FORMS OF CONTEMPORARY ART

2021 ◽  
Vol 7 (1(35)) ◽  
pp. 30-34
Author(s):  
I.F. Krylova ◽  
Victoria Andreevna Romanenko
Keyword(s):  
Contemporary Art ◽  
Literary Work ◽  
Literary Text ◽  
Film Adaptation ◽  
David Lynch ◽  
The Novel ◽  
Art Cinema ◽  
Anna Karenina ◽  
New Type ◽  
Literary Work Of Art

This article raises the problem of transposition (transposition) of the literary text of the verbal code into the language of cinema, which is relevant in modern linguistics. Within the framework of the presented research, the main stages of the development of cinematography, as well as the main techniques and types of editing, are described. The aim of the study is to analyze the historical stage in the development of a new type of art (cinema), its impact on society, as well as to analyze the relevance of such a phenomenon as the adaptation of a literary work of art. The relevance of addressing this topic is due to the development of modern filmmaking, the number of film adaptations that have come out in recent years. The article describes the views on cinema and film adaptation by Umberto Eco and David Lynch, suggesting that the film adaptation of literary works is a new type of artistic creation that was born in the 20th century and requires more careful research. The article presents an analysis of the novel by L.N. Tolstoy «Anna Karenina», as well as the main world adaptations of the novel. The analysis is carried out in order to identify the main cultural similarities and differences. The paper presents analyzes of such methods of translating meanings as color and cut-off.

scholarly journals Arkady Dolgoruky in Cinema and Theatre: Debut Decisions

2021 ◽  
pp. 192-223
Author(s):  
Liudmila I. Saraskina
Keyword(s):  
Middle Age ◽  
Literary Work ◽  
Film Adaptation ◽  
The Novel ◽  
Saint Petersburg ◽  
Literary Source ◽  
Stage Adaptations ◽  
To Come ◽  
Main Ideas ◽  
Made In

The paper investigates the fate of Fyodor Dostoevsky’s novel The Adolescent in cinema and theatre, comparing it with the stories of several film and stage adaptations of other works by the same author. The problem here discussed concerns the acceptable limits of interpretation, in cinema and theatre, of a literary work. The paper considers the following controversial aspects: - to what extent film and stage adaptations of a literary work may prove the success of the work as a piece of literature? - do film and stage adaptations expand (amplify) the contents of their literary source? - do they treat honestly the ideas and images of their source? The paper analyses the reasons why both cinema and theatre for many decades did not pay attention to The Adolescent and perhaps even deliberately bypassed it. The only film adaptation of The Adolescent so far was made in USSR in 1983 by the director Yevgeny I. Tashkov (1926-2012), with Andrei Tashkov (b. 1957) as Arkady Dolgoruky and Oleg Borisov (1929-1994) as Andrei Versilov. Of particular interest is the process of transforming the novel first-person narrative (Ich-Erzählung) into the language of cinema. However, the cinema debut of the novel and its characters cannot be described as a success. The film freed itself from the meaningfulness of the literary original, did not treat adequately its main ideas, and chose easy ways in all respects: in the script, in the work of the director, and the actors’ performances. Still more simplified has been the stage adaptation of The Adolescent at the Maly Drama Theatre in Saint Petersburg (the premiere took place on May 12, 2013). The director Oleg Dmitriyev, a disciple of Lev Dodon, abridged considerably the plot of the novel. The character of Versilov was deleted, shifting accents, and disfiguring the whole composition of the plot. In the novel, Arkady had dreamed all through his youth to come to know “the whole truth” about Versilov. In the stage adaptation, Arkady is presented not as a young and maturing person, but as a grown-up man who goes through a “middle-age crisis”: he turns into Versilov himself. He appropriates Versilov’s right to be extravagant and scandalous, thus playing the role, not of a witness but the central figure in the culmination of the story.

scholarly journals “A MAIOR FLOR DO MUNDO”: FROM LITERATURE TO FILM – A STUDY IN COMPARATIVE LITERATURE

2020 ◽  
Vol 4 (2) ◽  
Author(s):  
Luis Cardoso ◽  
Andreia Baptista
Keyword(s):  
Comparative Literature ◽  
Comparative Study ◽  
Intellectual Development ◽  
Children’S Literature ◽  
Literary Work ◽  
Film Adaptation ◽  
Moral Sense ◽  
Similarities And Differences ◽  
Jose Saramago ◽  
Made In

This article is a comparative study between José Saramago's “A Maior Flor do Mundo”, published in 2001, and its film adaptation made in 2007 by filmmaker Juan Pablo Etcheverry. Based on the discussion of the similarities and differences between the text and the film, it is intended to demonstrate that a film adaptation can add value to the narrative, through the inclusion of scenarios, characters, colours and sounds, which make it more understandable in the eyes of children. After a theoretical contextualization of the concepts of comparative literature, children's literature, adaptation and film adaptation, in the first part of this article we discuss the moral messages that José Saramago intends to transmit and the importance of this literary work in the child's individual, pedagogical and intellectual development. In the second part of the article, the characteristics of both works - literary and film - are compared, namely, the plot of both stories and the creative and moral sense of José Saramago and Juan Pablo Etcheverry. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0736/a.php" alt="Hit counter" /></p>

scholarly journals Intersemiotic translation: meaning-making in film and musical art

2019 ◽  
Keyword(s):  
Meaning Making ◽  
Film Review ◽  
Literary Work ◽  
Film Adaptation ◽  
Cultural Backgrounds ◽  
Multimodal Texts ◽  
Verbal Component ◽  
Light Effects ◽  
Written Descriptions ◽  
Rational Reasoning

Our research is based on two blocks of material (film adaptation and film-related soundtrack). It aims to analyse intersemiotic translation of a literary work into a film which involves procedures of intralingual translation; look into the semiotic resources of cinematic discourse – visual, sound and light effects, non-verbal means of communication in cinema, symbolism in films, color, etc.; compare written descriptions of associations, emotions and sensations provided by amateur Ukrainian and professional music and film review English subjects to reveal the mechanisms of interpreting the multimodal texts. We assume that the use of transformations in the process of adaptation brings about changes in the verbal component, compresses the text, adds or omits information, etc.; the audiovisual component, however, compensates the reduction of information that was presented verbally in the literary work (Besedin, 2017). Semiotic units contribute to reconstruction of meaning (Krysanova, 2017, p. 25; Peirce, 2000). We also experimentally approach the intersemiotic translation of the film into the medium of a piece of music. Our hypothesis is that such an intersemiotic translation (Jacobson, 1959, p. 233) of a film into a soundtrack will evoke similar associations in amateur and expert recipients despite their different professional and cultural backgrounds. Ingarden’s idea (1937/1973) of a work of art as an intersubjectively accessible object and Hardy’s theory (1998) that views meaning-making as intersubjective spontaneous nonlinear dynamic proving that affect, intuition and sensations are more powerful than linear rational reasoning are in the core of the research.

scholarly journals The Diegesis of Benjamin Button: A Method for Comparing Literature and Film

LETRAS ◽  
2013 ◽  
pp. 181-199
Author(s):  
Joe Montenegro Bonilla
Keyword(s):  
Short Story ◽  
Literary Work ◽  
Film Adaptation ◽  
David Fincher ◽  
The Relationship ◽  
Literature And Film

This article proposes a specific structuralist methodology that may help organize the analysis of the relationship between literature and cinema. Through the instance of F. Scott Fitzgerald’s short story “The Curious Case of Benjamin Button” and David Fincher’s film adaptation of it, a focus on the comparable diegetic structures of a narrative cinematic text and the literary work on which it is based is offered, along with an exploration of the semiotic codes that support their comparative textual analyses. Este artículo propone una metodología estructuralista específica que posibilita organizar el estudio para analizar la relación entre la literatura y el cine. Utilizando como ejemplo el cuento de F. Scott Fitzgerald “El curioso caso de Benjamin Button” y su adaptación al cine de David Fincher, se ofrece un enfoque en las estructuras diegéticas comparables entre un texto cinematográfico narrativo y la obra literaria en la cual se basa; además de una exploración de los códigos semióticos que sustentan los análisis textuales comparados de ambos textos.

scholarly journals Possible Worlds of Planet Solaris: The Reader’s Consciousness in the Condition of Indeterminacy

1970 ◽  
Author(s):  
Tetiana Grebeniuk
Keyword(s):  
Actual World ◽  
Possible Worlds ◽  
Literary Work ◽  
Literary Analysis ◽  
Film Adaptation ◽  
The Novel ◽  
Human Consciousness ◽  
World Semantic ◽  
The Unconscious ◽  
The One

The article examines the specifics of the reader’s reception of Stanisław Lem’s novel Solaris in the context of indeterminacy, and the openness of the work to interpretation. The paper examines literary approaches to the formation of meaning in the process of reading this novel, in particular those implemented in Manfred Geier and Istvan Jr. Csicsery-Ronay works. Marie-Laure Ryan’s adaptation of the theory of possible worlds to literary analysis is employed as the methodological basis of my research. On the one hand, the effect of indeterminacy corresponds to the fantastic nature of the conditionality of Lem’s novel. Indeed, the key issue of the work – the encounter of humans with the unknown – requires the author to apply the potential of secrecy. On the other hand, this highly literary work (as well as Andrei Tarkovsky’s film adaptation) is endowed with multiple and ambiguous semantic codes that appeal to the depths of human consciousness and the unconscious. These codes cannot be interpreted unambiguously and, therefore, also provoke a state of uncertainty in the reader. In the textual actual world, semantic codes produce indeterminacy. They are linked to the essence of the single inhabitant of the Solaris, the Ocean, and phantoms created by it who visit the Station. In the novel protagonist’s Kris Kelvin personal world, the state of indeterminacy is associated with the existential essence of his relationship with his beloved Rheya and the problem of making contact with extraterrestrial intelligence. The surreal imagery of Kris’s dreams and visions provide for possible interpretations of the semantic codes of his world.

scholarly journals EKRANISASI NOVEL SURGA YANG TAK DIRINDUKAN KARYA ASMA NADIA KE FILM SURGA YANG TAK DIRINDUKAN KARYA SUTRADARA KUNTZ AGUS

Jurnal KATA ◽  
2017 ◽  
Vol 1 (1) ◽  
pp. 94
Author(s):  
Megasari Martin
Keyword(s):  
Literary Work ◽  
Film Adaptation ◽  
The Novel ◽  
Research Needs ◽  
Data Validation ◽  
Data Format ◽  
The Third ◽  
Third Phase ◽  
Three Stages

<p>The transfer of the novel into a movie will lead to changes. That's because the process of making the novel and the film are very different. Different processes will produce somewhat different results. In the film without explaining to the audience what was happening, the audience itself has been understood through movement and images shown, while in the novel the reader to imagine exempted in accordance with what they think. To bridge the misunderstanding of society (lovers of literature) to the film adaptation of the literary work (novel), this research needs to be done. This is so that people can see the film as a film without overshadowed by his literary work (novel). This study aimed to: describe the novel Heaven Tak ekranisasi missed work to movie Asma Nadia Heaven Not missed by director Kuntz Agus.<br /> This study is a qualitative study using descriptive methods. Data of this study is novel Heaven episode story that Asma Nadia Tak missed work and the film Heaven Not missed by director Kuntz Agus. Data was collected through three stages, namely; The first step is to read the novel Heaven is not missed work Asma Nadia, followed by watching the movie Heaven Not missed by director Kuntz Agus. Phase Two is the inventory, to identify elements of the novel and the film Heaven is not missed. The third phase is the classification of data into the data format. The data validation techniques detailed description of the technique. Analyzing technique is done with the theory ekranisasi.</p>Based on the results of the study, concluded the following. First, a reduction in part ceritan novel Heaven Asma Nadia Tak missed work in the film Heaven is not missed by director Kuntz Agus. Secondly, there was an additional episode in the story in the film Heaven is not missed by director Kuntz Agus. Third, there is a change of variety of events, characters and background story episode in the film Heaven is not missed by director Kuntz Agus. Subtraction, addition and alteration variation on the novel and the film Heaven There may be missed characters, plot and setting. Such changes may result in changes of meaning and story standpoint.<br />

scholarly journals THE SHADOW OVER GALICIA: H.P. LOVECRAFT’S OBSESSIONS RESURFACE IN THE FILM ADAPTATION OF DAGON (2001)

2017 ◽  
Author(s):  
John D. Anderson
Keyword(s):  
Popular Culture ◽  
American Literature ◽  
North American ◽  
Literary Work ◽  
Film Adaptation ◽  
Ethnic Stereotypes ◽  
Galician Coast ◽  
Cinematic Adaptation ◽  
Cultura Popular ◽  
Lm Adaptation

Abstract:With the cinematic adaptation of H.P. Lovecraft’s tale The Shadow Over Innsmouth (1931) under the title of Dagon (Stuart Gordon, 2001), many ideological issues which have haunted scholarly appreciation of his literary work have been brought out under a new light. The setting of the lm in the Galician coast of Spain, from which many immigrants crossed the ocean towards America, provides a further reading to the hardly concealed xenophobia underlying this and many other tales. Hybridity, linguistic plurality, sexual taboo and other controversial features are updated far more explicitly on screen, proving that Lovecraft’s extremist perspective is not a thing of the past.Keywords: North-American Literature, lm adaptation, H.P. Lovecraft, Dagon, The Shadow Over Innsmouth, ethnic stereotypes, popular culture, immigration.Título en español: La sombra sobre Galicia: las obsesiones de H.P. Lovecraft resurgen en la adaptación cinematográfica de Dagon (2001)Resumen: Al adaptar al cine el relato de H.P. Lovecraft La sombra sobre Innsmouth (1931) con el título de Dagon (2001), Stuart Gordon genera nuevas posibilidades de interpretación del texto original al transferir la acción a España, concretamente al pueblo ficticio de Imboca (obvia derivación del original inglés) en la costa gallega. Una decisión puramente comercial activa diversas cargas semánticas subyacentes tradicionalmente adscritas a la obra del autor y vinculadas a su firme rechazo a la emigración hacia Estados Unidos. Estereotipos nacionales, hibridación, xenofobia y otros aspectos controvertidos vinculados a la localización de la película con rman que el extremismo político de Lovecraft sobrevive al cambio de siglo.Palabras clave: Literatura norteamericana, adaptación cinematográ ca, H.P. Lovecraft, Dagon, La sombra sobre Innsmouth, estereotipos nacionales, cultura popular, emigración. 

scholarly journals Fala sério, Mãe!: um estudo comparativo entre a obra literária e o filme e sua contribuição na formação do leitor

2021 ◽  
Vol 7 (3) ◽  
pp. 293-302
Author(s):  
Ana Cláudia Monteiro Ribeiro Lemos ◽  
Luciane Sippert Lanzanova
Keyword(s):  
Rio Grande ◽  
Literary Work ◽  
Theory And Practice ◽  
Film Adaptation ◽  
State University ◽  
Rio Grande Do Sul ◽  
Porto Alegre ◽  
Literary Works ◽  
Written Text ◽  
Palabras Clave

Resumo O presente artigo constitui uma adaptação do Trabalho de Conclusão de Curso apresentado à Especialização em Teoria e Prática da Formação do Leitor, na Universidade Estadual do Rio Grande do Sul, em Porto Alegre, em 2019. Este teve como objetivo compreender como o texto escrito pode ser transformado em imagens, ações ou diálogos, estabelecendo uma relação entre a arte literária e a arte cinematográfica, bem como elucidar algumas diferenças existentes entre as duas linguagens e como essa relação contribui para a formação de leitores. A análise se justifica devido à busca por comprovação de que adaptações cinematográficas de obras literárias contribuem para a formação de leitores. A metodologia adotada baseou-se em revisão bibliográfica e análise comparativa entre o livro da escritora Thalita Rebouças, Fala Sério, Mãe! e a adaptação cinematográfica homônima. Depois de fundamentar a análise acerca dos conceitos de linguagem literária (LAJOLO, 1996; MARTINS, 1986) e arte cinematográfica (COLODA, 1972; SANTAELLA, 2001; SOTTA, 2015), procurou-se elucidar algumas diferenças estabelecidas entre as duas linguagens. Os resultados sugerem que as adaptações cinematográficas de obras literárias contribuem para a formação de leitores ao divulgarem a existência de uma obra nas quais foram baseadas e auxiliam para que o leitor se sinta capaz de explorar diferentes formas de linguagens. Palavras-chave: Obra literária; adaptação fílmica; formação de leitores; linguagens. Abstract This article is an adaptation of the Course Conclusion Paper presented to the Specialization in Theory and Practice of Reader Education, at the State University of Rio Grande do Sul, in Porto Alegre, in 2019. It aimed to understand how written text can be changed into images, actions or dialogues, establishing a relationship between literary and cinematographic art, as well as elucidating some existing differences between the two languages ​​and how this relationship contributes to the formation of readers. The analysis is justified due to the search for proof that cinematographic adaptations of literary works contribute to the formation of readers. The methodology was based on a literature review and a comparative analysis of the book by writer Thalita Rebouças, “Fala sério, Mãe!” and the homonymous film adaptation. After substantiating the analysis on the concepts of literary language (LAJOLO, 1996; MARTINS, 1986) and cinematographic art (COLODA, 1972; SANTAELLA, 2001; SOTTA, 2015), some differences between the two languages should be elucidated. The results suggest that the cinematographic adaptations of literary works contribute to the formation of readers by disclosing the existence of a work on which they were based and helping the reader to feel capable of exploring different forms of languages. Keywords: Literary work; film adaptation; reader training; languages. Resumen Este artículo es una adaptación del Trabajo de Conclusión del Curso presentado a la Especialización en Teoría y Práctica de la Formación del Lector, de la Universidade Estadual do Rio Grande do Sul, en Porto Alegre, en 2019, que tuvo como objetivo comprender cómo el texto escrito se puede transformar en imágenes, acciones o diálogos, estableciendo una relación entre arte literario y arte cinematográfico, además de dilucidar algunas diferencias existentes entre los dos lenguajes y cómo esta relación contribuye a la formación de lectores. El análisis se justifica por la búsqueda de pruebas de que las adaptaciones cinematográficas de obras literarias contribuyen a la formación de lectores. La metodología adoptada se basó en una revisión de la literatura y un análisis comparativo del libro de la escritora Thalita Rebouças, Fala sério, Mãe!, y la adaptación cinematográfica homónima. Tras fundamentar el análisis en los conceptos de lenguaje literario (LAJOLO, 1996; MARTINS, 1986) y arte cinematográfico (COLODA, 1972; SANTAELLA, 2001; SOTTA, 2015), se buscó dilucidar algunas diferencias establecidas entre los dos lenguajes. Los resultados sugieren que las adaptaciones cinematográficas de obras literarias contribuyen a la formación de los lectores al dar a conocer la existencia de una obra en la que se basan y ayudar al lector a sentirse capaz de explorar diferentes formas de lenguajes. Palabras clave: Obra literaria; adaptación cinematográfica; formación de lectores; idiomas.

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