scholarly journals Adaptasi Teks Sejarah kepada Filem: Kajian Bandingan Teks Sejarah Kerajaan Melayu Patani kepada Filem Queens of Langkasuka

2020 ◽  
Vol 13 (2) ◽  
pp. 299-318
Author(s):  
Mohamed Nazreen Shahul Hamid ◽  
◽  
Md. Salleh Yaapar
Keyword(s):  
Qualitative Method ◽  
Film Adaptation ◽  
Film Analysis ◽  
Adaptation Theory ◽  
Work Of Art ◽  
Original Source ◽  
Successful Work ◽  
Historical Text

Queens of Langkasuka is a film adaptation of the historical text entitled Sejarah Kerajaan Melayu Patani. The eminence of the female rulers of Patani is noteworthy, and has resulted in this film adaptation. The question is whether the facts and events in the film are as reflected in the original source, or if there have been any additions or omissions, and what of the original has been maintained. Therefore, the main objective of this study is to compare the film Queens of Langkasuka with the text of Sejarah Kerajaan Melayu Patani to view the extent of similarity between the film and the historical text. The second objective is to examine the adaptation techniques used by the director. To this end, adaptation theory was used to identify anything that has been added, removed or retained. This study was conducted using a qualitative method for text and film analysis and comparison, and it finds that all three adaptation techniques were used by the director and scriptwriters in the film Queens of Langkasuka. Comparison reveals that while much was added, much was also discarded and replaced or intentionally modified. Thus, Queens of Langkasuka is a successful work of art that is distinct from the historical text on which it is based.

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.

scholarly journals Analisis Mural Karya Arnis Muhammad Ditinjau Dari Segi Fungsi dan Gaya

2021 ◽  
Vol 4 (2) ◽  
pp. 767-773
Author(s):  
Alpiza Simah Budi ◽  
Daulat Saragi
Keyword(s):  
Everyday Life ◽  
Public Space ◽  
Environmental Conditions ◽  
General Public ◽  
Qualitative Method ◽  
Sampling Technique ◽  
Two Dimensional ◽  
Aesthetic Value ◽  
Work Of Art ◽  
Selection Of

This study aims to describe the function and style of the mural by Arnis Muhammad. Mural as art in public space, which means that the space for movement and the target audience for the audience and audience is the general public. As a two-dimensional work of art, mural is also inseparable from style. Visually, the style in a work of art is the selection of objects, techniques, colors, and environmental conditions, time, era, and environmental conditions in which an artist creates his work. The population in this research is that all of Arnis Muhammad's mural works for the 2017-2019 period are 51 works. In this study the authors took samples using purposive sampling technique. The reason for taking samples is the number of mural works that still exist and are still intact. There are 10 mural works in the research location. In this case, the writer examines these mural works based on their function and style. The method used in this research is descriptive qualitative method. The function of the mural by Arnis Muhammad is a personal function as a reflection of the resonance of the environment in which he lives. Social function, as a form of concern for the environment and the surrounding community in everyday life. Physical function, as an aesthetic value enhancer and the various ways the general public use it. Arnis Muhammad's murals tend to have a surreal and decorative style.

scholarly journals Problematika Film Alih Media: Dari Transformasi Hingga Kontroversi

Panggung ◽  
2020 ◽  
Vol 30 (2) ◽  
Author(s):  
Acep Iwan Saidi ◽  
Dyah Gayatri Puspitasari
Keyword(s):  
Text Analysis ◽  
Visual Media ◽  
Film Adaptation ◽  
Adaptation Theory ◽  
Technical Issue ◽  
Film Maker ◽  
Media Adaptation ◽  
Visual Text ◽  
Bias Interpretation

ABSTRACTThis article contains a study of film adaptation from a literature media (novel) into audio-visual media(film). This research is a case study of Perempuan Berkalung Sorban film by Hanung Bramantyo, whichwas adapted from a novel with the same title that was written by Abidah el-Khalieqy. By combining a textanalysis method from Thomas Leittch, Mathew T. Jones’ film adaptation theory and the result of interviewto confirm the text analysis, this research produced some interesting findings. The research verified thatthe adaptation’s process does not merely focus on technical issue in media adaptation (from novel tofilm), but also focuses on another aspects that will involve the audience i.e. a fact that text and dialoguebecome references that will be appreciated by audience. As a result, there were excessive distortions anddeviations on the text that were created by the film maker caused a bias interpretation. Audiences nolonger interpreted the film as a visual text objectively. Instead, they would think about certain prejudiceagainst the film maker. In film adaptation, certain tendencies of film maker are easy to be predicted byaudience. This fact has caused film adaptation becomes controversial easily.Keywords: Media Adaptation, Transformation, Opposition, ControversyABSTRAKArtikel ini berisi kajian tentang alih media, yakni dari media verbal sastra (novel) kemedia visualfilm. Kajian ini berupa studi kasus terhadap film Perempuan Berkalung Sorban karya HanungBramantyo, yang merupakan adaptasi dari novel dengan judul sama karya Abidah el-Khalieqy.Dengan menggunakan metode gabungan, yakni analisis teks yang berdasar pada teori adaptasifilm dari Thomas Leittch, Mathew T. Jones, dan wawancara tertulis untuk mengkonfirmasianalisis teks tadi, kajian ini menemukan hal menarik, yakni alih media bukan sekedar persoalanteknis pemindahan media, melainkan juga pemindahan yang menimbulkan efek-efek tertentubagi penonton. Apresiasi penonton dilandasi kesadaran bahwa terdapat teks lain yang menjadirujukan film bersangkutan. Akibatnya, distorsi dan deviasi yang terlalu jauh yang dilakukansutradara atas teks sumber berpotensi mengakibatkan bias pemahaman. Penonton tidak lagimemaknai film sebagai teks visual secara objektif, tetapi juga dibarengi praduga-pradugatertentu terhadap sutradara. Pada genre film alih media, tendensi tertentu dari sutradara mudahdibaca penonton. Fakta ini mengakibatkan film sangat rentan menimbulkan kontroversi.Kata Kunci: alih media, transformasi, oposisi, kontroversi

scholarly journals Abstraction and art

2003 ◽  
Vol 358 (1435) ◽  
pp. 1241-1249 ◽  
Author(s):  
Bernard Gortais
Keyword(s):  
Visual Arts ◽  
Science And Technology ◽  
Work Of Art ◽  
Digital Platforms ◽  
The Arts ◽  
Successful Work ◽  
The World ◽  
The Spectator ◽  
Definition Of ◽  
Generic Representation

In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.

scholarly journals THE ANALYSIS OF NON-LITERAL MEANING IN CHRISTMAS CAROL BY CHARLES DICKENS

2019 ◽  
Vol 4 (2) ◽  
pp. 104-115
Author(s):  
Maria Salvatrix B.B. Nimanuho
Keyword(s):  
Charles Dickens ◽  
Short Story ◽  
Fairy Tale ◽  
Qualitative Method ◽  
Literal Meaning ◽  
Literary Works ◽  
Dominant Type ◽  
Original Source ◽  
Research Questions ◽  
Descriptive Qualitative

This study investigates non-literal meaning in ‘Christmas Carol’ story written by a famous British author, Charles Dickens. This study used a descriptive qualitative method. The data were taken or collected from words, phrases, and sentences on ‘Christmas Carol’ novella, without reducing, adding, or changing any parts from the original source.  The data were analyzed to answer three research questions: (1) What types of non-literal meaning are found in Christmas Carol story? (2) What are the interpretations of those non-literal meanings found in Christmas Carol story? (3) What is the most dominant type of non-literal meaning found in Christmas Carol story? In order to avoid bias, validator triangulation was used. The study found 11 idiom, 14 Simile, 6 Hyperbole, 6 Alliteration, 5 Personification, 3 Anaphora, 3 Onomatopoeia, 2 Irony, 2 Synecdoche, 2 Sarcasm, 1 Metaphor, and 1 Litotes. Simile was the non-literal meaning’s type which was mostly used in the story, although the percentage was still less than 50%. These findings indirectly could help the readers to understand deeper the message or the story that the author wants to convey. It is suggested for future researchers to investigate the non-literal meaning of others literary works such as tale, folklore, fairy tale, short-story, fable, etc. and media such as movie, drama, speech script etc. It is because other type of non-literal meaning and different ways of using them could be found in these literary works and media. This study will improve our understanding about non-literal meaning.     Keywords: Semantics, Non-Literal meaning, Christmas Carol, Novella, Charles Dickens

scholarly journals From Birnamwood to Bollywood: A View of the Cinematographic Adaptation of Macbeth into Maqbool

2020 ◽  
Vol 1 (1) ◽  
pp. 1-20
Author(s):  
Rinshila Arakkal
Keyword(s):  
Thematic Analysis ◽  
Film Adaptation ◽  
Primary Sources ◽  
Modern World ◽  
Original Text ◽  
English Renaissance ◽  
Original Play ◽  
Adaptation Theory ◽  
Psychoanalytic Perspective ◽  
Remarkable Reduction

Purpose: The study aims to explore the similarities and dissimilarities between William Shakespeare’s Macbeth and its film adaptation Maqbool by Vishal Bhardwaj. The study also aims to compare both the film and the play in terms of politics and power from a psychoanalytic perspective. Methodology/ Approach: This study is based on thematic analysis and the main changes when the original play is adapted to film, in order to check the variation from stage to screen. Adaptation theory, Sigmund Freud’s psychoanalysis theory are used in this analysis. Bollywood movie Maqbool (2003) by director Vishal Bhardwaj and William Shakespeare’s great tragedy Macbeth (1606) are used as primary sources for this analysis.  Findings: The result of the analysis indicates that film and drama are entirely different. When an original play is adapted into film, there are many merits and demerits.Shakespeare mounded more on poetic language than on spectacle and other scenic devices to create the necessary emotional effect. The Elizabethan theatre gores were more audiences than spectators. But the modern spectators habituated to the computer-generated technique of cinematography expect something considerably different. The result is that when the text of the play is converted into a screenplay, there will be a remarkable reduction in the number of spoken words because mainstream cinema depends for its effect largely on visual rather than dialogue. However, the director maintained the originality of play despite the additions and reductions. Conclusion: The paper throws light on the main changes from English Renaissance theatre to contemporary modern world or theatre. It depicts the Psychological behavioural differences and the power and political structures of the two different periods. The paper suggests that film adaptation is an effective and attractive tool to maintain the value and to understand the original text.

scholarly journals A Review of Received/Dominant/Western Film Adaptation Literatures, Or The Possibilities for a (De-Westernized) Filipino Theory

Plaridel ◽  
2018 ◽  
Vol 15 (2) ◽  
pp. 157-188
Author(s):  
Joyce Arriola
Keyword(s):  
The Philippines ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Theoretical Discussion ◽  
Adaptation Theory ◽  
The 1950S ◽  
Western Film

First, as part of a longer work on theorizing Filipino adaptation, this study discusses extant samples of komiks-to-film adaptations in the 1950s. The study reviews received/dominant/Western adaptation literatures that have dominated the field. Secondly, it argues for the following points as a springboard to construct a theory of adaptation: The limits of received/dominant/Western film adaptation theory dominating postcolonial cinemas such as the Philippines; The need to de-Westernize theory or to indigenize Filipino film adaptation theory; and To recognize constructs and formulate concepts from historical and cultural Filipino realities to inform the theory. This study is a meta-theoretical discussion that will begin the construction of a Filipino film adaptation theory.

scholarly journals Reimagining Peter Pan: The Postmodern Childhood Portrayal in Wendy (2020)

k ta ◽  
2021 ◽  
Vol 23 (1) ◽  
pp. 1-9
Author(s):  
Dhita Hapsarani ◽  
Nadia Farah Lutfiputri
Keyword(s):  
Comparative Analysis ◽  
Film Adaptation ◽  
Original Novel ◽  
Adaptation Theory ◽  
Peter Pan ◽  
Social Construct ◽  
Children’S Agency ◽  
The One ◽  
The Right ◽  
Over Time

As a social construct, the view towards childhood remains to change over time. Literary works, such as films or novels from different periods of time which feature children's characters as the protagonists can be the right medium to identify those shifts. This article analyzes Wendy (2020) film as the latest adaptation of J.M. Barrie’s classic children's novel Peter Pan (1911). This film has made some transformations from the original novel to make the story more relevant in today’s context, including how it showcases childhood that is experienced by the children’s characters. Using textual and comparative analysis, this study attempts to see the transformations in the film adaptation and how it shows a different childhood construction from the one appearing in the source novel. Referring to the concept of postmodern childhood, Linda Hutcheon’s adaptation theory, and Bordwell and Thompson’s elements of film analysis, this study reveals how Wendy (2020) has exemplified the concept of postmodern childhood through the portrayal of children’s roles, children’s agency, and children-adults relationship.  

Metropolitan Wordsworth: Allegory as Affirmation and Critique in The Prelude

2006 ◽  
Author(s):  
Stuart Allen
Keyword(s):  
False Consciousness ◽  
Work Of Art ◽  
Ideological Position ◽  
Full Diversity ◽  
Successful Work ◽  
The Social ◽  
Conservative View ◽  
The Law ◽  
The Aesthetic ◽  
The City

Abstract In this essay, I contest the view of recent historicist and New Historicist critics that the London books of The Prelude feature a “conservative view” of the city and capitalism. I argue that Wordsworth does not flee the social variety and perceived chaos of London in preference for his bourgeois domestic retreat in Grasmere. However, nor do I suggest that Wordsworth offers a “proto-Marxist” critique of capitalism. Instead, I show that the use of allegory in The Prelude enables Wordsworth not only to convey the alienating character of the city (and the law of the market dominating it), but also to explore London’s affective and imaginative potential. I argue that Wordsworth affirms the city and nature, and that his critique of certain aspects of London cannot be reduced to any ideological position – Burkean or Painite, for example. Drawing on Adorno’s claim that the successful work of art “transcends false consciousness”, I submit that Wordsworth’s commitment to the autonomy of the aesthetic reflects a distinctly undogmatic politics (“Lyric” 214). Embodied solely as art, Wordsworth’s critique balks at any instrumental realisation. Opposing the anti-aesthetic bent of some historicist writers, I argue that Wordsworth’s art is permanently adversarial and does not harden into either a political manifesto or false consciousness. Simultaneously affirmatory and critical, The Prelude is relatively free of ideological prejudice in its exploration of the full diversity of feeling.

Adaptation

2014 ◽  
Author(s):  
Thomas Leitch ◽  
Kyle Meikle
Keyword(s):  
New Media ◽  
Digital Media ◽  
Film Adaptation ◽  
Second Phase ◽  
Adaptation Theory ◽  
Adaptation Studies ◽  
Arts And Sciences ◽  
Textual Production ◽  
Third Phase ◽  
Wide Range

Studies of cinematic adaptations—films based, as the American Academy of Motion Picture Arts and Sciences puts it, on material originally presented in another medium—are scarcely a century old. Even so, particular studies of adaptation, the process by which texts in a wide range of media are transformed into films (and more recently into other texts that are not necessarily films), cannot be properly understood without reference to the specific period they were produced in. Each generation of adaptation studies has produced its own principles and orthodoxies, typically by attacking the orthodoxies and principles of the preceding generation. Adaptation studies have regularly alternated between polemics that attacked earlier assumptions in the field and readings of individual adaptations that have explored the implications of these attacks and so implicitly established new orthodoxies. The earliest work on adaptation, from Vachel Lindsay’s The Art of the Moving Picture, first published in 1915, to André Bazin’s “Adaptation, or the Cinema as Digest,” first published in 1948, grapples with the general relationship between literature and cinema as presentational modes. The second phase, focusing mostly on adaptations of individual novels to films, follows George Bluestone’s highly influential 2003 study Novels into Film, originally published in 1957, in assuming a series of categorical distinctions between verbal and visual representational modes. Most studies of individual adaptations and their sources, and most textbooks on adaptation, have been produced under the influence of these assumptions. In this third phase, Robert Stam’s 2000 article “Beyond Fidelity: The Dialogics of Adaptation” rejects the binary distinctions between source texts and adaptations; Kamilla Elliott’s 2003 book Rethinking the Novel/Film Debate deconstructs the binary distinctions between verbal and visual texts; and Linda Hutcheon and Siobhan O’Flynn’s 2012 book A Theory of Adaptation emphasizes the continuities between texts that have been explicitly identified as adaptations and all other texts as intertextual palimpsests marked by traces of innumerable earlier texts. This third phase has generated most of the leading work on adaptation theory. An emerging fourth phase is heralded by Jay David Bolter and Richard Grusin’s 1999 study Remediation: Understanding New Media and Lev Manovich’s 2001 book The Language of New Media. Both are inspired by the rise of the digital media that establishes every reader as a potential writer. These analysts use a Wiki-based model of writing as community participation rather than individual creation to break down the distinction between reading and writing and recast adaptation as a quintessential instance of the incessant process of textual production. A leading tendency of this fourth phase has been to use methodologies developed for literature-to-film adaptation to analyze adaptations that range far outside literature and cinema.

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