Stage-Bound: Feature Film Adaptations of Canadian and Québéco is Drama. André Loiselle

2006 ◽  
Vol 15 (1) ◽  
pp. 97-100
Author(s):  
Bruce Barton
Keyword(s):  
Film Adaptations ◽  
Feature Film

scholarly journals Seeing Double: The Process of Script Adaptation between Theatre and Film

2021 ◽  
Author(s):  
◽  
Gavin Rodney McGibbon
Keyword(s):  
Full Length ◽  
The Other ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Critical Component ◽  
Feature Film ◽  
Stage Adaptations ◽  
Significant Change ◽  
Film Scripts

<p>This thesis examines the adaptation of stage plays to cinema, and of films to theatre. The creative component of the thesis consists of my full-length play script Hamlet Dies At The End, and the script of its feature film adaptation (Song’s End), plus material from my film script Roy Jiminton and the script of its adaptation to theatre.  The critical component of this thesis examines seven stage-to-film adaptations and four film-to-stage adaptations, in order to illustrate the distinctions between writing for the two different mediums and to suggest principles to aid scriptwriters in adapting material between theatre and film.  The thesis concludes with discussion of the decisions I made when adapting my own scripts.  This thesis argues that to successfully adapt play or film scripts from one medium to the other, the adaptor must be willing to incorporate significant change in order to effectively ‘adapt’. Adaptations that merely transpose from the stage onto the screen, or vice versa, fail to engage with their new medium.  This thesis also proposes a set of adaptation principles for script adaptors.</p>

scholarly journals Seeing Double: The Process of Script Adaptation between Theatre and Film

2021 ◽  
Author(s):  
◽  
Gavin Rodney McGibbon
Keyword(s):  
Full Length ◽  
The Other ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Critical Component ◽  
Feature Film ◽  
Stage Adaptations ◽  
Significant Change ◽  
Film Scripts

<p>This thesis examines the adaptation of stage plays to cinema, and of films to theatre. The creative component of the thesis consists of my full-length play script Hamlet Dies At The End, and the script of its feature film adaptation (Song’s End), plus material from my film script Roy Jiminton and the script of its adaptation to theatre.  The critical component of this thesis examines seven stage-to-film adaptations and four film-to-stage adaptations, in order to illustrate the distinctions between writing for the two different mediums and to suggest principles to aid scriptwriters in adapting material between theatre and film.  The thesis concludes with discussion of the decisions I made when adapting my own scripts.  This thesis argues that to successfully adapt play or film scripts from one medium to the other, the adaptor must be willing to incorporate significant change in order to effectively ‘adapt’. Adaptations that merely transpose from the stage onto the screen, or vice versa, fail to engage with their new medium.  This thesis also proposes a set of adaptation principles for script adaptors.</p>

scholarly journals Do verso poético à tomada fílmica: a cinematização de Cahier d’un retour au pays natal de Aimé Césaire / From the Poetic Verse to the Filmic Take: The Cinematization of Aimé Cesaire’s Cahier d’un Retour au Pays Natal

2020 ◽  
Vol 25 (3) ◽  
pp. 253
Author(s):  
Beatriz D'Angelo Braz ◽  
Dennys Silva-Reis
Keyword(s):  
African Diaspora ◽  
Exploratory Analysis ◽  
Film Adaptations ◽  
Aime Cesaire ◽  
Literary Studies ◽  
Feature Film ◽  
Diaspora Literature ◽  
African Diaspora Literature ◽  
Do So

Resumo: Este artigo visa a fazer uma análise exploratória sobre a adaptação de Cahier d’un retour au pays natal (1939), texto de Aimée Césaire (1913-2008), para sua versão audiovisual homônima (2008) realizada por Philippe Bérenger (1960-). Para isso, primeiro, faz-se uma reflexão sobre os elos entre literatura e cinema e, depois, uma análise em cotejo das duas obras. Exploram-se os vínculos com os movimentos da Negritude e do Surrealismo, e com a pouca percorrida trilha das adaptações fílmicas de poemas. Em suma, esta é uma contribuição para os estudos literários do cinema e para os estudos de literatura de expressão francesa negra no Brasil.Palavras-chave: Aimé Césaire, Philippe Bérenger, negritude, poema, filme.Abstract: This article aims at carrying out an exploratory analysis of the adaptation of Cahier d’un retour au pays natal (1939), text written by Aimée Césaire (1913-2008), into the homonymous feature film (2008) directed by Philippe Bérenger (1960-). In order to do so, it first addresses the links between literature and cinema, and then analyses and compares the two pieces. We have also explored the connection to both the Negritude and Surrealistic movements, as well as the lack of film adaptations of poems. Therefore, this is a contribution to literary studies of cinema and to studies of francophone African diaspora literature in Brazil.Keywords: Aimé Césaire, Philippe Bérenger, negritude, poem, film.

A Māori Girl Watches, Listens, and Learns – Coming of Age from an Indigenous Viewpoint: Mauri (Merata Mita, 1988)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Indigenous People ◽  
Coming Of Age ◽  
Natural World ◽  
Feature Film ◽  
Indigenous Woman ◽  
Spiritual Dimension ◽  
The World ◽  
Life Force ◽  
Relationship Of ◽  
The Relationship

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.

Early Cinema in Scotland

2018 ◽  
Keyword(s):  
Social History ◽  
Small Towns ◽  
Early Cinema ◽  
Popular Song ◽  
Feature Film ◽  
Local Newspapers ◽  
The Social ◽  
Production History ◽  
History Of ◽  
International Audience

This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.

Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema

Somatechnics ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 58-83
Author(s):  
Akkadia Ford
Keyword(s):  
Life Experiences ◽  
Private Life ◽  
First Century ◽  
Short Film ◽  
New Wave ◽  
Privileged Access ◽  
Feature Film ◽  
Theoretical Issues ◽  
Over Time ◽  
Film Change

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.

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