Relevant bibliographies by topics / Adaptation of film

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Academic literature on the topic 'Adaptation of film'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Adaptation of film"

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Wan Teh, Wan Hasmah. "The History of Film Adaptation in Malaysia: The Long Journey of Its Rise and Fall." Malay Literature 31, no. 2 (December 1, 2018): 361–82. http://dx.doi.org/10.37052/ml.31(2)no7.

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Morris Beja in his book Film and Literature: An Introduction , said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM). Keywords: film adaptation, history, Cathay Keris, Malay Film, Merdeka Studio Abstrak Morris Beja dalam bukunya Film and Literature: An Introduction , mengatakan bahawa sejak Anugerah Akademi diperkenalkan pada tahun 1927 – 1928, lebih kurang tiga per empat anugerah untuk filem terbaik telah dimenangi oleh filem adaptasi. Keadaan ini merupakan bukti bahawa filem adaptasi adalah satu bentuk seni yang telah lama mendapat perhatian masyarakat dunia dan menjadi corak naratif yang terkenal pada abad ke-19 dan ke-20 di Eropah. Makalah ini mengambil inisiatif untuk menelusuri sejarah filem adaptasi secara umum dengan memberi tumpuan kepada filem adaptasi di Malaysia. Dapatan kajian mendapati sejarah filem adaptasi di Malaysia melalui liku-liku perjalanan yang panjang bermula pada tahun 1933 sewaktu zaman perusahaan Cathay Film dan Malay Film di Singapura hingga ke Merdeka Studio di Kuala Lumpur sekitar tahun 1970- an dan seterusnya. Industri filem di Malaysia berdepan dengan pelbagai masalah termasuk lambakan filem import dari Indonesia dan faktor komersialisme yang tidak menjamin keuntungan. Walau bagaimanapun sekitar tahun 2006 usaha mengadaptasi karya sastera ke filem terus diperkasakan melalui bengkel dan pertandingan anjuran badan kerajaan di Malaysia seperti Dewan Bahasa dan Pustaka (DBP), Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) dan Radio dan Televisyen Malaysia (RTM). Kata kunci: filem adaptasi, sejarah, Cathay Keris, Malay Film, Merdeka Studio
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Barr, Pippin. "Film Adaptation as Experimental Game Design." Arts 9, no. 4 (October 9, 2020): 103. http://dx.doi.org/10.3390/arts9040103.

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Film adaptation is a popular approach to game design, but it prioritizes blockbuster films and conventional “game-like” qualities of those films, such as shooting, racing, or spatial exploration. This leads to adaptations that tend to use the aesthetics and narratives of films, but which miss out on potential design explorations of more complex cinematic qualities. In this article, I propose an experimental game design method that prioritizes an unconventional selection of films alongside strict game design constraints to explore tensions and affinities between cinema and videogames. By applying this design method and documenting the process and results, I am able both to present an experimental set of videogame film adaptations, along with potentially generative design and development themes. In the end, the project serves as an illustration of the nature of adaptation itself: a series of pointed compromises between the source and the new work.
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Primorac, Antonija. "VICTORIAN LITERATURE AND FILM ADAPTATION." Victorian Literature and Culture 45, no. 2 (May 5, 2017): 451–59. http://dx.doi.org/10.1017/s1060150316000711.

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“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).
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Cattrysse, Patrick. "Film (Adaptation) as Translation." Target. International Journal of Translation Studies 4, no. 1 (January 1, 1992): 53–70. http://dx.doi.org/10.1075/target.4.1.05cat.

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Abstract This paper proposes an application of some particular theories, known as the 'polysystem' theories of translation, to the study of film adaptation. A preliminary and experimental analysis of a series of film adaptations made in the American film noir of the 1940s and 1950s shows that this approach provides the basis for a systematic and coherent method with theoretical foundations, and that it permits the study of aspects of film adaptation which have been neglected or ignored so far.
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Lee, Sung-Ae, Fengxia Tan, and John Stephens. "Film Adaptation, Global Film Techniques and Cross-Cultural Viewing." International Research in Children's Literature 10, no. 1 (July 2017): 1–19. http://dx.doi.org/10.3366/ircl.2017.0215.

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Adaptation is often a transcoding into a different set of conventions, and here we argue that print to film adaptations introduce and depend upon a bundle of conventions and techniques which are already globalised and hence facilitate cross-cultural understanding more than print media might do. Films for children and young adults seldom reach a cross-cultural audience, but we contend that this is a consequence of uni-directional globalisation rather than any barriers constituted by the films themselves. In an analysis of narrative conventions and cinematic techniques in film adaptations from China, South Korea and Japan we show that cinematic features enable boundary crossing and ensure childhood experiences are intelligible cross-culturally. These features are broadly of two kinds: elements of narrative, especially global scripts, and cinematic techniques of cognitive and technical kinds. Scripts, whether of general types such as a children's film structure or cause-and-effect structure, or thematic types such as the triumph of the underdog, are widely recognisable. We examine conceptual metaphors, which are intrinsic to human cognition, the visual strategy of emotional mirroring, and film as a metonymic mode which sustains a deeper significance while requiring minimal decoding activity on the part of viewers and promoting mutual understanding between cultures.
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Cuelenaere, Eduard. "Towards an Integrative Methodological Approach of Film Remake Studies." Adaptation 13, no. 2 (February 28, 2020): 210–23. http://dx.doi.org/10.1093/adaptation/apz033.

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Abstract This article argues that, after decades of pointing towards the importance of including production and reception research into the study of film remakes, we should actually start addressing production and reception methodologies and investigate why this is necessary for the sustainability and future development of the field. I argue that a lot can be learned from the insights coming from the existing methodologies that are being used in, that is, format studies, (critical) media industry studies, (audiovisual) translation studies, and more recently the study of cultural transduction. The first section of the article mainly deals with the importance of investigating the different cultural mediators that take part in the production lifecycle of the film remake. It is contended that the analysis of film remakes should start examining the different individuals or institutions that mediate or intervene between the production of cultural artefacts and the generation of consumer preferences. The second part of the article points towards the importance of investigating the reception, experience, and interpretation of film remakes. It is shown that crucial questions like ‘(why) do audiences prefer the domestic remake over the foreign film?’, ‘how do audiences experience, interpret, and explain differences and similarities between source films and remakes?’, but also ‘how do audiences define and assess film remakes?’ remain yet to be asked. The article concludes that if the field of remake studies wishes to break out of its disciplinary boundaries, adopting a multi-methodological approach will help to further brush off its dusty character of textual analysis.
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KIFFLI, SUDIRMAN, and NURUL AFINI ROSLIN MOHD SAUFI. "ELEMEN-ELEMEN ADAPTASI DALAM FILEM TOMBIRUO: PENUNGGU RIMBA (TPR)." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (March 31, 2021): 109–25. http://dx.doi.org/10.47252/teniat.v9i1.402.

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Abstrak Penghasilan filem adaptasi adalah salah satu kaedah dalam memastikan kesinambungan karya-karya sastera agar sentiasa berkembang dalam pelbagai medium. Menerusi kajian ini, penelitian diberikan terhadap aspek-aspek adaptasi yang terdapat dalam penghasilan filem Tombiruo: Penunggu Rimba yang diadaptasi daripada novel Tombiruo Penunggu Rimba karya Ramlee Awang Murshid. Sebagai sebuah filem adaptasi yang masih baharu, kajian dan penyelidikan mengenai filem Tombiruo Penunggu Rimba (TPR) masih belum banyak dianalisis. Oleh hal yang sedemikian, penelitian telah dilakukan ke atas filem TPR dengan menerapkan pendekatan daripada Linda Hutcheon (2006). Empat aspek yang menjadi fokus kajian ini ialah (1) sumber dan cara adaptasi, (2) tujuan adaptasi, (3) kumpulan atau penonton sasaran dan (4) konteks. Dapatan kajian menunjukkan keempat-empat elemen berkenaan diterapkan dengan baik di dalam penghasilan filem adaptasi TPR oleh pihak pembikin filem. Keadaan ini dikukuhkan dengan pelbagai peristiwa dan situasi seperti dipaparkan di dalam filem berkenaan yang secara tidak langsung memberikan kesan yang amat mendalam kepada khalayak yang menonton filem ini. Kesemua elemen adaptasi ini boleh membantu pihak pembikin filem untuk menghasilkan sebuah filem adaptasi dengan lebih baik. Abstract The production of adaptation films is one of the methods in ensuring the continuity of literary works so that they are constantly evolving in various mediums. Through this study, research focuses on the aspects of adaptation found in the production of the film Tombiruo: Penunggu Rimba (TPR) adapted from the novel with the same title by Ramlee Awang Murshid. As an adaptation film that is still considered as new, the TPR film has not been much analyzed. As such, a study was conducted on TPR film by applying the approach introduced by Linda Hutcheon (2006). This study focuses on four aspects namely (1) source and method of adaptation, (2) purpose of adaptation, (3) target group or audience and (4) context. The results show that the four aspects are well applied in the production of TPR by the filmmakers. This situation is reinforced by various events and situations as shown in the film itself which indirectly gives a very profound effect to the audience watching this film. All these elements of adaptation can help the filmmaker to produce a better adaptation film.
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Elliott, K. "Gothic--Film--Parody." Adaptation 1, no. 1 (March 1, 2008): 24–43. http://dx.doi.org/10.1093/adaptation/apm003.

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Perdikaki, Katerina. "Film Adaptation as an Act of Communication: Adopting a Translation-oriented Approach to the Analysis of Adaptation Shifts." Meta 62, no. 1 (July 6, 2017): 3–18. http://dx.doi.org/10.7202/1040464ar.

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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.
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Snell, Heather. "‘I Am Also Having Mother Once, and She Is Loving Me’: Reading Cary Joji Fukunaga’s Beasts of No Nation in a Post-Network Era." Adaptation 13, no. 2 (December 28, 2019): 194–209. http://dx.doi.org/10.1093/adaptation/apz031.

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Abstract This article examines Cary Joji Fukunaga’s film adaptation of Uzodinma Iweala’s Beasts of No Nation, with a special focus on the final scene, in which a counsellor is assigned to help the protagonist deal with the trauma of having been a child soldier. While the casting of a black African actor as the counsellor in Fukunaga’s film may appear to detract from the novel’s interrogation of the uneven power relations between Africa and America, an interpretation oscillating between novel and film reveals that there may be some benefits to erasing the white saviour figure from the scene. The erasure of a white American character not only redirects the focus to relations among Africans but also comments indirectly on the circulation of transnational films via streaming services such as Netflix. Reading in between adapted text and adaptation also yields some important insights about Beasts’ critical engagement with the politics of circulation, reception, and consumption of child-soldier narratives at a time when such narratives have become popular among transnational audiences.
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Dissertations / Theses on the topic "Adaptation of film"

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Felix, José Carlos. "Film and television adaptation." Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87828.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente
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A presente pesquisa tem como objetivo principal investigar o processo de adaptação de filmes baseados em textos literários em relação ao contexto histórico e social em que eles foram produzidos. Desta forma, a pesquisa apresenta uma análise comparativa de duas versões cinematográficas da peça do dramaturgo Tennessee Williams A Streetcar Named Desire produzidas em momentos históricos distintos, a primeira para o cinema, dirigida por Elia Kazan (1951) e a outra feita para a televisão, dirigida por Glenn Jordan (1995). Uma discussão sistemática sobre o processo de
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Brownlee, Shannon. "Strange translations : experiments in film adaptation /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2008. http://uclibs.org/PID/11984.

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Perdikaki, Katerina. "Adaptation as translation : examining film adaptation as a recontextualised act of communication." Thesis, University of Surrey, 2016. http://epubs.surrey.ac.uk/812918/.

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Narratives are increasingly intermedial nowadays and adaptation is prominent in the performing arts (e.g. theatre, opera) and in various forms of media (e.g. film, television, radio, video games). The process of adaptation has been paralleled to that of translation, as both deal with the transfer of meaning from one sociocultural context to another. In a similar vein, translation has been viewed as a process of adaptation when the communicated message needs to be tailored to the values of the target culture. Nevertheless, a framework building on the affinities of translation and adaptation remains relatively under-researched. A model for a systematic adaptation analysis seems to be currently missing in Adaptation Studies. Translation Studies can also benefit from a closer look into the workings of cultural production. An analysis of adaptation as intersemiotic and intermedial translation can give rise to the factors that condition the flow of narratives across media and cultures. Such an analysis can also shed light on the relationship between cultural products and the socio-temporal context that accommodates them. To this end, the present project aims at examining the film adaptation process from a hermeneutic point of view, looking into both textual and contextual parameters that monitor the adaptation process. A model towards the systematic analysis and interpretation of the changes occurring in the adaptation process (i.e. adaptation shifts) is also developed to fulfil this aim. The model draws upon insights from Translation Studies, Film Studies and Narratology and has a descriptive/comparative and an interpretive component. The former is used to examine adaptation as an audiovisual text in relation to its source material and the latter deconstructs the adaptation process in relation to the agents and contexts involved. The model can thus contribute to a systematic study of adaptations and to a better understanding of the adaptation/translation process.
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Bremer, Rose Mary. "Screening gender and sexuality in contemporary Quebec film adaptation." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1085495358.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains vi, 186 p.; also includes graphics. Includes bibliographical references (p. 171-186). Available online via OhioLINK's ETD Center.
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Smith, Benjamin. "Spandex cinema : three approaches to comic book film adaptation /." Read thesis online, 2009. http://library.uco.edu/UCOthesis/SmithBP2009.pdf.

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McFadden, Emmie. "The in-between : film adaptation, Irish cinema and diaspora." Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/20040/.

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This thesis draws on Film Adaptation Studies and Irish Diaspora Studies, two interdisciplinary fields that are fundamentally concerned with the concept of 'origin'. It focuses specifically on the notion of the 'unacknowledged adaptation', namely films that do not declare formally their status as adaptations. In terms of Irish Diaspora Studies, my interest lies in the phenomenon of the 'hidden' Irish diaspora in England. This thesis will offer a new perspective on the significance of the 'unacknowledged adaptation' by creating a parallel between a film's ambiguous enunciation of its sources and the ambivalent national identity of its characters. Drawing on critical methodologies from film adaptation studies, postcolonial studies, and diaspora studies, I seek to create a rigorous analytical framework for exploring the notion of the 'hidden' Irish diaspora in the 'unacknowledged adaptation'. This framework specifically combines the theories of postcolonial and diasporic theorist, Homi Bhabha (1994) and film adaptation theorist, Kamilla Elliott (2003), each of whom respectively undermines claims of pure cultural identities and aesthetic forms in order to foreground the notion of 'hybridity'. Combining the theories of Elliott and Bhabha not only enhances discussions on hybridity, but it also enables the recognition of a process of adaptation and of diasporic identities that would otherwise be left unacknowledged. Focusing on three case studies, Mary Reilly (dir. Stephen Frears, 1996), Liam (dir. Stephen Frears, 2001), and Breakfast on Pluto (dir. Neil Jordan, 2005), this thesis argues that the obscuring of origins in these films not only paradoxically draws attention to the act of adaptation, but it also serves to highlight themes of diaspora. I argue that the cultural hybridity evoked in the film adaptations is specifically signalled through word/image hybridity: the syntactical relationship between the word and the image enables the emergence of a liminal space 'in-between' the designations of identity, thus creating a hybrid dialectic that functions to draw attention to the act of concealing origins.
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Loots, Lorraine. "A filmic adaptation of the Lorraine Loots's Ek is Suzie." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/11013.

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Includes bibliographical references (leaves 13-15).
The aim of the creative project was to adapt an autobiographical illustrated novel, Ek is Suzie, into a screenplay for a full-length feature film. Using a combination of live action and animation, the two main narratives play out parallel to one another – representing the past and present tense. The explication is intended to offer a reflection on the process of writing the screenplay, on filmic influences that shaped it and on the kinds of theory that illuminate what I was trying to accomplish. Thus, I investigate various creative and technical decisions made during the writing of the screenplay – dropping the novel’s narrator, the mixing of languages, the use of dream and, especially, the play between live action and animation. I note the debate on fidelity in adaptation especially as this debate applies to graphic novels and take special account of Marjane Satrapi’s Persepolis, not only because of its engagement with the process of adaptation, but also because of it seminal use of animation as a serious medium of communication, dealing with trauma and childhood. Other (popular) filmic influences are In America, My Left Foot and Garden State, dealing with the dominant themes in my screenplay – childhood trauma, self-discovery, friendship, family and love.
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McFarlane, B. "Novel into film: Transfer and adaptation; the processes of transposition." Thesis, University of East Anglia, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.374692.

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Taylor, James. "Hollywood superheroes : the aesthetics of comic book to film adaptation." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/93641/.

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This thesis develops a theoretically-informed approach with which to analyse the aesthetics of the adaptation of superhero comic books into blockbuster films. Pervasive modes of thinking present superhero blockbusters as artistically degraded products that are not worthy of aesthetic analysis. I demonstrate that exploring the ways in which superhero blockbusters adapt comic book style and form reveals aesthetic sophistication and multiplicities of meaning. Engaging with comic book and film history also enables me to identify ways in which superhero blockbusters have contributed to the development of Hollywood’s blockbuster filmmaking paradigm. My approach combines models and concepts from studies of adaptation that employ poststructuralist theory. This theoretical framework explains transformations that content may undergo as it is adapted between the different forms available to comics and film, and enables examination of dialogues occurring in the vast networks of intertexts in which superhero blockbusters are situated. After my review of literature establishes the thesis’ theoretical underpinnings, my chapters undertake close textual analysis of three distinct case studies. The selection of case studies allows me to continue to develop my approach by examining different superhero archetypes, alongside significant contexts, trends and technologies that impact Hollywood blockbusters. Chapter one looks at the first superhero blockbuster, Superman: The Movie (1978). I begin by outlining, and exploring relations between, the range of Superman texts released prior to the film. Doing so reveals the qualities of the intertextual networks that comprise a superhero franchise. I then analyse the strategies that Superman: The Movie deploys to adapt and enter the network of Superman texts, before situating the film in the context of the emerging blockbuster paradigm in 1970s Hollywood. Chapters two and three analyse films produced in the twenty-first century, as superhero blockbusters gained a central position in Hollywood production. Chapter two evaluates the aesthetics of the Spider-Man trilogy (2002, 2004 and 2007) in relation to two contexts that are often considered to have facilitated the superhero blockbuster’s twenty-first century success: the increasing use and sophistication of digital filmmaking technologies in Hollywood, and the contemporary sociopolitical climate. Looking at the representation of bodies and space elucidates the ways in which the films incorporate digital filmmaking technologies into their adaptive practices and offer a sociopolitical commentary. Chapter three examines the strategies that films produced by Marvel Studios, with particular focus on team film The Avengers (2012), deploy to adapt the model of seriality that superhero comic books use to interconnect multiple series in a shared diegesis. The analysis focuses on ways in which The Avengers uses bodies and space to compress the expansive diegetic universe into a single film, and interrogates how these strategies shape the film’s sociopolitical meanings. My case studies demonstrate that the approach developed in this thesis illuminates the complex and equivocal meanings that the adaptive practices of superhero blockbusters generate.
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Eberts, Jane F. "Adaptation: Is the Book Really Better Than the...Television Series?" Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/105.

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When the topic of ‘adaptation’ is brought up, more often than not the coupling of a novel and its most recent Hollywood hit come to mind. Although it may not be at the forefront of the general population’s mind, adaptation is something that we encounter often, and consciously or not, we all have our own theory on the subject. While it may seem that the evolution of book series, to film adaptation, to booming franchise may be recently trending with the acceleration of blockbusters such as Harry Potter, adaptation has been a fundamental part of the advancement of media. This paper looks at film and television adaptations founded outside of the literary canon, exploring the discourse of what constitutes high or mass culture and how the medium of the adaptation fits or breaks the conventions that “classic” film adaptation has established. In addition, the medium-specific differences between film and television will be examined for how they limit or enhance a literary adaptation, whether it is a single novel or a series. What happens to the critique of an adaptation when it extends past the narrative created in the source text, opposed to the adaptation that begins and ends with the source narrative? In addition, adaptations will be looked at through a contextual and historical lens, rather than a moralistic or hierarchical lens, producing a criticism that incorporates the differences among the media involved in adaptations.
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Books on the topic "Adaptation of film"

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Film adaptation. New Brunswick, N.J: Rutgers University Press, 2000.

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Richard, David Evan. Film Phenomenology and Adaptation. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722100.

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Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation’s source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.
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Desmond, John M. Adaptation: Studying film and literature. Boston, Mass: McGraw-Hill, 2006.

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Victorian literature and film adaptation. Amherst, NY: Cambria Press, 2011.

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Adaptation and the avant-garde: Alternative perspectives on adaptation theory and practice. New York: Continuum, 2011.

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Razā, Rāhī Māsūma. The Mahabharata TV film script. Calcutta, India: Writers Workshop, 1991.

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Monique, Carcaud-Macaire, ed. L' adaptation cinématographique et littéraire. Paris: Klincksieck, 2004.

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Garcia, Alain. L' adaptation du roman au film. Paris: IF Diffusion, 1990.

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Geal, Robert. Anamorphic Authorship in Canonical Film Adaptation. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16496-6.

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Mooney, William H. Adaptation and the New Art Film. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62934-2.

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Book chapters on the topic "Adaptation of film"

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Cartmell, Deborah, and Imelda Whelehan. "Film on Literature: Film as the New Shakespeare." In Screen Adaptation, 28–40. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-11153-1_3.

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Verevis, Constantine. "Film Novelization." In Adaptation in Visual Culture, 3–19. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58580-2_1.

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Brown, Alexis. "Chapter 5. The post-nostalgia film." In Where is Adaptation?, 87–102. Amsterdam: John Benjamins Publishing Company, 2018. http://dx.doi.org/10.1075/fillm.9.06bro.

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Signorelli, Valentina. "Chapter 16. Adaptation as defense against film censorship." In Where is Adaptation?, 271–86. Amsterdam: John Benjamins Publishing Company, 2018. http://dx.doi.org/10.1075/fillm.9.17sig.

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Hunter, I. Q. "Cult film and adaptation." In The Routledge Companion to Cult Cinema, 358–65. London; New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-44.

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Cobb, Shelley. "Film Authorship and Adaptation." In A Companion to Literature, Film, and Adaptation, 105–21. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118312032.ch6.

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Rees, Catherine. "Martin McDonagh: Translating Adaptation into Film." In Adaptation and Nation, 147–75. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-42587-4_7.

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Sherry, Jamie. "Paratextual Adaptation." In A Companion to Literature, Film, and Adaptation, 374–90. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118312032.ch21.

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Cartmell, Deborah. "Sound Adaptation." In A Companion to Literature, Film, and Adaptation, 70–83. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118312032.ch4.

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Cartmell, Deborah, and Imelda Whelehan. "Literature on Film: Writers on Adaptations in the Early Twentieth Century." In Screen Adaptation, 41–56. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-11153-1_4.

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Conference papers on the topic "Adaptation of film"

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Rahman, Yunanfathur, Maria U. Dewi, and Lutfi Saksono. "Dschungelkind : A Novel into a Film Adaptation." In 2nd Social Sciences, Humanities and Education Conference: Establishing Identities through Language, Culture, and Education (SOSHEC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/soshec-18.2018.57.

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Ruan, Jiale, and Jue Wang. "Practice of Deleuze's Film Theory. Evaluation and Analysis on the American Film Adaptation." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.19.

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Cobos, Yolanda, Maria Teresa Linaza, Ander Garcia, and Isabel Torre. "Applicability of MPEG-7 Descriptors to Film Heritage." In Second International Workshop on Semantic Media Adaptation and Personalization (SMAP 2007). IEEE, 2007. http://dx.doi.org/10.1109/smap.2007.13.

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Cobos, Yolanda, Maria Teresa Linaza, Ander Garcia, and Isabel Torre. "Applicability of MPEG-7 Descriptors to Film Heritage." In Second International Workshop on Semantic Media Adaptation and Personalization (SMAP 2007). IEEE, 2007. http://dx.doi.org/10.1109/smap.2007.4414411.

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Kiffli, Sudirman, Nasirin Abdillah, and Farrah Atikah Saari. "Film adaptation as a new medium in understanding literature." In PROCEEDINGS OF 8TH INTERNATIONAL CONFERENCE ON ADVANCED MATERIALS ENGINEERING & TECHNOLOGY (ICAMET 2020). AIP Publishing, 2021. http://dx.doi.org/10.1063/5.0051676.

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Cobos, Yolanda, Cristina Sarasua, Maria Teresa Linaza, Ivan Jimenez, and Ander Garcia. "Retrieving Film Heritage Content Using an MPEG-7 Compliant Ontology." In 2008 Third International Workshop on Semantic Media Adaptation and Personalization (SMAP). IEEE, 2008. http://dx.doi.org/10.1109/smap.2008.16.

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Le Quoc, Hieu. "Intersemiotic Translation in Adaptation: The Case Study of the Adaptation of Narrative Poem The Tale of Kiều (Nguyễn Du) to Cải lương Film Kim Vân Kiều (Nguyễn Bạch Tuyết)." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-4.

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We are living in the age of adaptation. In contemporary art, the power of adaptation is evidenced by the fact that a textual semiotic system is continuously passing through the different genres and means to establish new texts. Adaptation is also an intercultural translation as each work adapted experiences a cultural shift so as to adapt to the target culture. Although The Tale of Kieu (Nguyen Du) made use of the plot of Kim Van Kieu, written as the pseudonym Qingxin Cairen (青心才人, Pure Heart Talented Man), in the Vietnamese artistic context, the tale can be considered as the “original text” that provides superabundant materials for other adaptations. The Tale of Kieu is one of the Nom poetries that has been most adapted to other art forms, particularly “cải lương” (reformed theatre). In this study, we analyze the case of video-cải lương Kim Van Kieu (directed by Nguyen Bach Tuyet), to determine modes of semiotic transposition from the narrative (narrative poem) to the performance/showing (video cải lương). This inter-semiotic translation process requires that the author adapts, selects, renounces, transforms as well as encodes/decodes, as semiotics, genre, and materials belonging to the verbal semiotic system to the nonverbal semiotic system, or vice versa. To concretize this, we analyze factors that were involved or omited during the adaptation of The Tale of Kieu to Kim Van Kieu.
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Kelly-Zion, Peter, William Collins, and Diana Glawe. "Application of Laser Interferometry for Transient Film Thickness Measurements." In ASME 2004 Heat Transfer/Fluids Engineering Summer Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ht-fed2004-56693.

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A laser interferometry technique for making transient measurements of film thickness of the order of 10 to more than 1000 μm is described. The basis for these measurements was reported previously [1] but the technique was applied to solid glass slides and a slowly thinning silicone oil film. The current work describes an adaptation of the technique for the measurement of rapidly changing film thickness, as occurs with evaporating films. A beam from a helium-neon laser is focused on the film at an oblique angle. Some of the laser light is reflected off of the top surface of the film and some is reflected off of the bottom surface. The light reflected from the two surfaces forms a concentric interference fringe pattern which is projected onto a screen and recorded by a high-speed camera. The film thickness is directly related to the spacing of the fringes. To demonstrate the technique, measurements of the time-varying thickness of three evaporating films are presented and experimental considerations are discussed.
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Ghani, Dahlan Bin Abdul. "P.Ramlee's Laksamana Do Re Mi: The study of interactive comic film adaptation." In 2016 International Conference on Information and Communication Technology (ICICTM). IEEE, 2016. http://dx.doi.org/10.1109/icictm.2016.7890794.

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Gao, Nan, and Liya Fu. "Research on Aesthetic Image of Miyanishi's qYou are Umasouq Picture Book Adaptation Film." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.89.

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Reports on the topic "Adaptation of film"

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Grinfeld, Pavel. Exact Nonlinear Equations for Fluid Films and Proper Adaptations of Conservation Theorems from Classical Hydrodynamics. Journal of Geometry and Symmetry in Physics, 2012. http://dx.doi.org/10.7546/jgsp-16-2009-1-21.

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Foronda, Carlos, and Javier Beverinotti. Effects of Innovation on Employment: An Analysis at the Firm Level in Bolivia. Inter-American Development Bank, September 2021. http://dx.doi.org/10.18235/0003640.

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This study quantifies the impact of process and product innovation on employment growth in Bolivia by using microdata from a survey on innovation conducted in Bolivia in 2016. Following the model of Harrison, Jaumandreu, Mairesse, and Peters (2008) and the adaptations for Latin America of Crespi and Tacsir (2013) and Elejalde, Giuliodori, and Stucchi (2015), we demonstrate that employment growth is explained by product innovation. On the other hand, we find no evidence of a displacement effect due to process innovation. With respect to innovation and work composition, we observe that the reation of qualified employment is slightly favored over that of unqualified employment.
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