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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 CorrespondenteMade available in DSpace on 2012-10-22T02:29:14Z (GMT). No. of bitstreams: 0
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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Hall, Alexander Charles Oliver. "Reel Hope: Literature and the Utopian Function of Adaptation." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1372450824.
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Dovey, Lindiwe. "African film adaptation of literature : mimesis and the critique of violence." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423936.
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Day, Catherine Mary. "Appropriating Juan Rulfo: The Film Score of Los confines as Adaptation." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3839.
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Mitl Valdez's film Los confines (1987) is an adaptation of several works of fiction by the Mexican author Juan Rulfo. The director chose to adapt two short stories ("Talpa" and "¡Diles que no me maten!") and an episode from the author's first novel, Pedro Páramo. Valdez's intent was to "capturar el sentido" of the Jaliscan author or, in other words, to remain faithful to certain elements of his writing while adjusting them to the filmic medium. The musical score of Los confines is the method of appropriation that this study endeavors to investigate, since it shares common themes, metaphors, and imagery with the source texts. The musical language of Los confines not only communicates meaning within the film, but echoes elements of Rulfo's writing as well. Musical motifs in the score evoke concepts and symbols that form part of the writer's fictive universe and illustrate how Valdez finds "un equivalente en la expresión cinematográfica" for Rulfian material (qtd. in Pelayo).
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McCluskey, Kevin. "Stage to screen and back again : film adaptation and Irish theatre." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678818.
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This dissertation examines film adaptations of Irish plays, applying theory from adaptation studies as well as using archival research to uncover how film technology, censorship, and industry concerns shape how plays are altered in their journey to the screen. Chapter One analyses silent film adaptations of Dion Boucicault's Irish plays and seeks to uncover why film versions of William Travers's Kathleen Mavourneen (1862) were mistakenly credited as being based on a play by Boucicault. Chapter Two focuses on space and place in theatre and film, focusing on Sean O'Casey's The Plough and the Stars (1926) and Brendan Behan's The Quare Fellow (1954). The second section considers the use of the Irish landscape in Jim Sheridan's film The Field (1990) and Brian Desmond Hurst's films of Synge's Riders to the Sea (1904) and The Playboy of the Western World (1907). Chapter Three analyses Brian Friel's exploration of subjectivity and memory in Philadelphia, Here I Come! (1964) and Dancing at Lughnasa (1990). The analyses of the film versions focus on subjective camerawork and the use of voiceover in film, with particular attention paid to the screenwriting process. Chapter Four looks at the complex dramaturgy of monologue plays and meta-theatrical two character plays, including Owen McCafferty's Mojo Mickybo (1998), Enda Walsh's Disco Pigs (1996), and Abbie Spallen's Pumpgirl (2006). It is argued that the growth of low budget and independent film making in Ireland has facilitated the creation of adaptations that draw from a wider range of theatrical sources that contain more multi-faceted approaches to both theatrical form and depictions of Irish society. I
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Hudrlik, Mikhel L. "Prosthetic Adaptation: Disability in/of Richard III in Manga and Film." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/748.
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This thesis analyzes the representation of disability in adaptations of Shakespeare’s Richard III in order to propose a theory of Prosthetic Adaptation. Ian McKellen and Richard Loncraine’s film adaptation, and Patrick Warren’s manga adaptation, are closely read through the lenses of Adaptation Theory and Critical Disability Studies. Prosthetic Adaptation is the use and incorporation of disability in adapted texts in such a way that both the text and the portrayal/reading of the disability are mutually transformed. Close reading analysis is conducted with both Critical Disability Studies and Adaptation Studies lenses. The transformation of the texts and disability work together to push the boundaries of their genre/medium that they have been transformed into, using those broken boundaries to comment on disability itself. McKellen and Loncraine’s film uses archetypes of war films and shifts in tone to comment on the dangers of the disability stereotype and spectacle in film; Warren uses color and form to create a strong visual metaphor of the invisibility of disability to the able-bodied eye, commenting how disability is erased and removed from sociocultural context. It is through these commentaries that both the concept of disability and the texts themselves experience a broadening of potential meanings and a reshaping of boundaries.
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Gkikas, P. A. "Adapting poetics : a fusion of ideas in literature to film adaptation." Thesis, University of Salford, 2016. http://usir.salford.ac.uk/39038/.
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This study attempts to formulate and test an original idea in adaptation theory, one that exploits the productive aspects of the two main tendencies in adaptation studies, fidelity and intertextuality. The question that is addressed here is how the prioritization of a novel's poetics as the focal point for the transposition of the literary text can inform the study and practice of literature to film adaptation. It will be argued in this thesis that an abstract description of the literary and filmic work can be used as a blueprint for the transposition between the two media. In the context of this study, adaptation is defined as a mode of engagement with the source text, while the adapter is defined as the agency responsible for the transposition. Poetics, in the context of this study, is a system of aims and methods, that represent the work of art as a system of creative decisions. Michail Bakhtin's concept of dialogism, as well as his view of the author, have informed the theoretical structure of this thesis to a significant degree. The proposition has been tested in the context of adaptation criticism, through an examination of Francis Ford Coppola's Apocalypse Now based on Joseph Conrad's Heart of Darkness. The application of the rationale of this thesis on the specific case has revealed a complex system of interaction between two works that are superficially very different. In the context of adaptation practice, a form of practice based research has been employed in the discussion of the filmic possibilities of Fyodor Dostoevsky's Notes from Underground. The system that derives from the conceptual framework of this thesis has created a discussion of alternatives, through a joint consideration of source poetics and medium demands. The conclusion of this research is that the focus on the poetics of a work can potentially provide fertile ground for the examination of adaptation as product, and for the practice of adaptation as a re-contextualisation of literary works in the filmic medium.
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Doan, Joy M. "THE INNOCENT DIVERSION ON SCREEN: THE NARRATIVE FUNCTION OF FILM MUSIC IN ADAPTATIONS BASED ON THE WORKS OF JANE AUSTEN." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1270568560.
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Westergård, Cecilia. "From Brokeback Mountain to Brokeback Mountain : A Critical Study of the Adaptation Process from Short Story to Film." Thesis, University of Gävle, Department of Humanities and Social Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-3837.
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The essay investigates the film adaptation process of the short story "Brokeback Mountain". The short story is compared to the film manuscript and the film. The process of adaptation is analyzed through a narratological perspective and uses Linda Hutcheon's "A Theory of Adaptation" as a starting point when analyzing matters such as focalization, narrators,voiceovers and framed narratives.
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Bachmann, Anne. "Locating Inter-Scandinavian Silent Film Culture : Connections, Contentions, Configurations." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-96162.
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The thesis revisits film and film-culture history in Sweden, Denmark and Norway with a view to discourses and practices of the inter- and trans-Scandinavian in the silent era. Excluding the earliest films, but including the transition to synchronised sound, it covers the period of the 1900s to 1930 with emphasis on the 1910s and 1920s. The thesis identifies notions about the relations between the Scandinavian and the national by means of a number of case studies based on textual historical sources. As a consistent Scandinavian perspective on this period is new, the investigation substantially supplements and revises the individual national film histories of these countries. It adds missing context to national developments and makes visible border phenomena such as transnational collaborations and co-producing practices. The thesis finds that film production in Scandinavia in the silent era was orientated towards one of two poles, at times combined or in a state of negotiation: international economic ambitions or national cultural aspirations. The latter was frequently conceptualised as northern, Nordic and Scandinavian. ‘Scandinaviannesses’ performed when drawing on nature, folklore, literature and heritage, not least that of Norway, were employed for use in and out of Scandinavia by means of strategies of ‘double-entry book-keeping’. During the period, the notion of location underwent changes from an illusory, theatrical device to an inherently meaningful entity carrying identities infused with the Scandinavian. Examining the effects of shared comprehension of language and a shared recent history of Scandinavist ideas, the thesis identifies instrumental notions of kindredness and senses of cultural proprietorship extending to the output of the neighbouring countries. These notions were mobilised selectively within film culture and motivated practical transnational collaboration from the side of the authorities as well as in trade organisations.
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Shi, Yeting. "L'adaptation des pièces comiques du théâtre français au cinéma." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30013/document.
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Chaque année en France, les films adaptés des œuvres littéraires forment une partie importante des sorties cinématographiques, parmi lesquelles nous remarquons souvent les films adaptés des pièces de théâtre comiques. En effet, dès sa naissance, le cinéma est lié étroitement au théâtre, surtout aux pièces comiques. Les cinéastes ont puisé leurs inspirations aussi bien dans les pièces classiques (L’Avare, La Fausse Suivante, Cyrano de Bergerac, etc.) que les pièces modernes (La Cage aux folles, Le Dîner de cons, Le Prénom, etc.), en passant par les vaudevilles (Un Chapeau de paille d’Italie, Un Fil à la patte, etc.), les café-théâtre (les pièces du Splendid) et les pièces de Sacha Guitry et de Marcel Pagnol qui ont vécu la prospérité du théâtre filmé. Le théâtre et le cinéma, tous deux arts de spectacle, partagent énormément de points communs et gardent également de nombreuses différences. Ils se mélangent, s’influencent et se critiquent. Les spectateurs regardent la représentation théâtrale avec une vision « cinématisée » sans en avoir conscience. À l’inverse, nous déployons la théâtralité dans chaque séquence de film. Dans le cadre comique, quelle est donc la relation entre le cinéma et le théâtre ? Les ressorts du comique de théâtre sont-ils les mêmes au cinéma? Quels effets donnent-ils ? L’étude de l’adaptation des pièces comiques de théâtre au cinéma dans la période définie par notre corpus nous permet de voir les principes du travail de l’adaptation et de saisir le changement de la relation entre le théâtre et le cinéma au fil du temps. Ce changement nous laisse entrevoir la procédure de maturation d’un jeune art — le cinéma. Les valeurs esthétiques que nous avons dégagées dans ce travail nous aideront à comprendre d’une façon profonde les arts de spectacle, tandis que la valeur sociale du film adapté nous fera réaliser la nécessité de ce travail d’adaptationEvery year in France, plenty of new movies are adapted from literary works, among them, we can often notice the films adapted from comic plays. Indeed, since its invention, the cinema is closely related to the theater, especially to the comic plays. The filmmakers try to find their inspiration in classic plays (The Miser, La Fausse suivante, Cyrano de Bergerac, etc.) as well as modern plays (La Cage aux Folles, Dinner of Fools, The First Name, etc.) but also in vaudeville (Un chapeau de paille d’Italie, Love on the Rack, etc.), in dinner theater (the plays of the Splendid) and in the plays of Sacha Guitry and Marcel Pagnol, who experienced the boom period of « théâtre filmé ». As two performing arts, theater and cinema share a lot of common points but have also many differences. They influence each other. The audience, unconsciously, watches the theatrical performance with a « cinématisée » vision. Conversely, we deploy theatricality in each sequence of the film. In the comic plays, what is the relationship between cinema and theater? Are the comic elements of theater the same as those in cinema? What effects do they give? The study of the adaptation of comic plays to the cinema in the period defined by our corpus lets us see the principles of adaptation and know the change in the relationship between theater and cinema. This change shows us the maturing process of a young art —the art of cinema. The aesthetic values that we have reveald in this work will help us understand the performing arts in a deep way, and the social value of an adapted film will let us realize the need of this adaptation
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Istomina, Olga. "Vom buch zum film zur frage der adaptation bei Sternberg, Schlöndorff und Tykwer /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4989.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 27, 2008) Includes bibliographical references.
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Foster, David. "The film adaptation of Samuel Beckett's Comédie : a theoretical and practical interpretation." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553053.
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The main topic of this research project is the film adaptation of Samuel Beckett's play Comedie (1966), directed by Marin Karmitz in collaboration with Beckett. The research methodology employed is both theoretical and practical, yielding a written thesis, and a video/audio installation piece. Interdisciplinary in scope, the research encompasses aspects of film and theatre studies, . literary studies, fine art, music and philosophy, and seeks to fill a significant gap in Beckett scholarship by carrying out the first major study of the film adaptation of Comedie, as well as producing an original artwork in response to it. The theoretical side of the project utilises a diverse range of critical, literary and philosophical material to construct a thorough analysis and interpretation of a range of interconnected themes and concepts to be found within Comedie, within the stage- play from which it derives, and within several other relevant works of cinema. The practical element of the project is concerned with further developing and exploring many of the concepts expounded in the theoretical research, through the creation, manipulation and juxtaposition of video and audio material. The research employs a pragmatic and eclectic approach to critical theory and practice, and does not seek to impose any single critical or ideological framework onto its subject, initiating instead a degree-zero analysis in which an engagement with the subject gives rise to a philosophical approach that is broadly post-foundational. Such an approach means that relativism, paradox and aporia become overarching themes throughout the project, concomitant with a simultaneous recognition and rejection of binary logic. In this way, the research does not propose any all- encompassing theories about the work it addresses, but probes the multiple and often paradoxical meanings that arise from its engagement with space, film structure, the film screen, musical form, and the human voice, head and face.
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Parker, David. "Film adaptation and the novels of E.M. Forster : aspects of narrative structure." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245626.
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Barcsay, Katherine Eva. "Profit and production : Jane Austen's Pride and Prejudice on film." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/5152.
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Adaptation from literature to film has always been a much criticized enterprise, with fidelity
criticism, or an attempt to discredit fidelity criticism, often driving the critical discussion.
However, this type of thinking is somewhat limited, becoming circular and going nowhere
productive. Instead, taking into account what has come before, this thesis attempts to settle
on a method of examination that moves away from fidelity criticism and towards an approach
that aligns itself with cultural studies. Adaptations, then, can be seen as products of the
historical, cultural, political and general socio-economic framework out of which they
emerge, owing perhaps more to their context of production than to their source material. In
order to provide a case study that reflects this idea, this paper looks to an author who has
been adapted on multiple occasions, Jane Austen, and examines her as a cultural construct.
Looking at Austen’s most popular novel, Pride and Prejudice, and using Robert Z. Leonard’s
Pride and Prejudice (1940), Cyril Coke’s Jane Austen ‘s Pride and Prejudice (1980), Simon
Langton’s Pride and Prejudice (1995), Andrew Black’s Pride and Prejudice: A Latter Day
Comedy (2003), Gurinder Chadha’s Bride and Prejudice (2004) and Joe Wright’s Pride &
Prejudice (2005), the thesis argues that the appeal of Austen is a result of her cult status and
economic viability, and also the malleability of her text, which allows filmmakers to use it in
a number of different contexts, while still embodying the source material.
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Briones-Manzano, Luisa. "La parodia quijotesca en el cine = Quixotic Parody in Film." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104030.
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Thesis advisor: Elizabeth RhodesEsta tesis analiza la función de la parodia en Don Quijote de La Mancha (1605, 1615). A partir de la cual se explora la manera en que tres adaptaciones cinematográficas de la novela de Cervantes reutilizan la estructura paródica de Don Quijote. Estas adaptaciones son Don Quijote cabalga de nuevo de Roberto Gavaldón (México, 1973), Don Quijote de Orson Welles de Jess Franco (España, 1992) y Don Quijote de La Mancha de Rafael Gil (España, 1948). La novela Don Quijote de Cervantes ofrece una estructura de la parodia que los directores de estas tres películas emplean para criticar discursos originalmente parodiados por Cervantes en su novela--la condenación de la literatura de caballerías. Esta tesis explora las nuevas funciones de la parodia quijotesca analizando cómo se representan y transforman en las adaptaciones cinematográficas. El marco teórico tiene en cuenta recientes contribuciones a la teoría de la parodia, que interpreta esta figura más allá de los estudios de la parodia tradicional vinculados a la representación cómica. Puede ser homenaje o crítica seria de los contextos culturales y políticos del momento en el que el nuevo texto, la adaptación, se produce. Igualmente, recientes estudios teóricos sobre adaptaciones cinematográficas desplazan el privilegio tradicionalmente concedido al texto literario. Estas tres adaptaciones cinematográficas de la novela Don Quijote de La Mancha utilizan la parodia original para crear parodias posmodernas de acuerdo a sus propios contextos históricos y artísticos
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures
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Bolton, Matthew E. "A Rhetorical Approach to Adaptation: Effects, Purposes, and the Fidelity Debate." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1315967449.
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Konstantinidis, Kostas. "From film adaptation to post-celluloid adaptation : rethinking the transition of popular narratives and characters across old and new media." Thesis, University of Reading, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487291.
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The main subject of this thesis is film adaptation and film remakes with a specific focus on the study of emerging modes of adaptation from older media to new. This includes computer generated reconstructions of the iconography and characters of popular literary texts and early films, and media convergence forms (websites), which transfer and transform familiar media content from either TV shows or films to and for the Internet. I argue that the comparative analysis of processes such as the above and the rethinking of new media in general enable us to furt~er unseat the issue of fidelity and examine film adaptations within a framework of intertextual dialogism. I attempt to develop Robert Starn's embryonic concept of post-celluloid adaptation to cover the new technological developments involved in such processes. This leads to a working definition of this concept which essentially broadens the field of adaptation theory and regards as viable case studies the adaptations of popular visual narratives from analogue media to digital media. This definition intends to challenge the traditional perception of film adaptation, that is from a literary text to filmlTV, and to investigate how the aesthetics of digital forms require a different kind of critical analysis when these digital forms are created out of already familiar cultural productions. Furthermore, this thesis· examines the interconnectedness of the aesthetic and economic dimensions of post-celluloid adaptation and illustrates how the intertextual commodity form of popular texts redefines the relationship between the screen and the media literate viewer/user through the channels ofconvergence culture, which expand the mode ofexistence of a popular narrative.
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Hagström, Anna. "From The Golden Compass to The Golden Compass : a narratological study of novel and film adaptation." Thesis, Högskolan i Gävle, Akademin för utbildning och ekonomi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-9483.
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The purpose of this essay is, from a narratological point of view and also by employing film adaptation theory, to compare the novel The Golden Compass to its film adaptation and examine the narrative elements they have in common and those that are distinct for each medium. The aim is also to critically comment on these elements and to discuss to what extent the changes made affect the story and how it is perceived. The analysis that I have carried out shows that changes have been made regarding the plot order, i.e. sequences have been moved around or even removed in the film adaptation. The portrayal of the characters differs as well; some characters have been condensed while others have been extended to fit into the new frame of narrative. There are also differences in pacing between the original work and the adaptation. However, the changes do not affect the perception of the story and the story works very well in the new narrative structure.
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Falcon, R. W. "'Literaturverfilmung' : Perspectives on literature adaptation in the cinema of the Federal Republic of Germany." Thesis, University of Bath, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380958.
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Steinbach, Katherine. "Documentary adaptation: non-fiction transformations via cinema and television." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5643.
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Documentary and docudrama practices have expanded with increasingly convergent media. Cinema, television, and the web conspire to create new vehicles of information and entertainment. Footage is manipulated, reenacted, and narratively altered for viewers who must negotiate flexible and porous parameters of fact and fiction. Bill Nichols began a conversation about documentary’s “blurred boundaries” that has continued and intensified with scholars such as John Corner, Steven Lipkin, Alan Rosenthal, Vivian Sobchack, Derek Paget, and Jonathan Kahana. Documentary and docudrama techniques must be more closely scrutinized and categorized, with particular focus on the importance of reenactment and reflexivity.
A phenomenon that illustrates explicit interaction between documentary footage and fictional affect has remained undefined. My project proposes a new term, “documentary adaptation,” to explain the use of documentary films or television programs as source material for a fictional retelling. Films such as Rescue Dawn (2006), Grey Gardens (2009), Devil’s Knot (2013), or Loving (2016) have an uncanny and indeed literary relationship to previous documentary films conveying the same story. My research reads, theorizes, and contextualizes these adaptations. I note industrial and audience demand for narrative that engages with familiar facts. These unique dramas are sites of affective engagement with history as well as contemporary journalism. The project employs cinema and media studies terms and techniques to analyze documentary adaptation, to interpret a distinct merger of cinema and television aesthetics. This dissertation revises the dilemmas of documentary and reveals an invention to confront a new era of flexible media.
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Graour, Kristina. "Then it happened; The four degrees of narrative separation : exploring the process of adaptation through biolographical texts." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13252.
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Includes bibliographical references.To write critically about any given text is very different to writing critically about the process of that text’s creation. Given that this essay will deal closely with representations of the self, perhaps it is not out of place for me to open with an autobiographical confession: while I greatly enjoy the former, relishing opportunities to analyse both literary and filmic texts, I have no such fond feelings for the latter, especially when the situation calls for a critical analysis of my own writing process. The task seems to intrude on a sacred space that I imagine most writers value greatly, a time when what will eventually become the ‘finished product’ is still in formation, is still incomplete. Due to the very nature of the process, it is a time when everything is still in flux, when ideas are still seeking their final form. Therefore, subjecting this tenuous process to critical examination seems somewhat like a betrayal of its nature, a desire to fix in meaning that which has no such absolute meaning. As a result, I have strategically avoided such undertakings in the past as much as possible. It then comes as a surprise to me that after completing the screenplay for Then It Happened, I have the desire to do just that. The reason, I believe, is revealing. It is not the aforementioned final product (the screenplay) that has inspired the ideas that will be discussed in this essay, but the process of creating it, for it is the process that brought me into contact with the three incarnations of the biographical narrative that will be discussed below: autobiography, biography and the biopic (in the form of both the screenplay and the final film). If I have done my job as a storyteller relatively well, then – hopefully – upon reading the screenplay, the reader will receive it as one coherent narrative, with a unity of purpose and style. They will not see it as a collage, composed out of several key sources, namely, Frank Capra’s autobiography The Name Above the Title, Joseph McBride’s biography of Capra, The Catastrophe of Success, as well as six other biographies of the key players: Harry Cohn, Robert Riskin, Clark Gable and Claudette Colbert. The reader might – again, hopefully – glean the sense that a significant amount of research has gone into the screenplay, and from this might infer that multiple sources have been used, but the story should not feel in any way disjointed or 2 fragmented. The purpose of this essay, then, will be precisely to take this story apart and to reveal the collage. In this critical analysis of my writing process, I would like to reverse that very process: instead of stitching together the information gathered through my research, attempting to make the connections invisible, I will magnify those very seams and examine the act of their creation. For I believe that these seams can inform the way that we think about the processes of writing, reading, adaptation as well as the intimate connections between the three, ultimately revealing the importance of narrative in our lives. I will begin, in sections one and two, by examining the forms of autobiography and biography in their own right as well as in their relationships to one another. These sections of the essay will be used to establish a foundation on which the discussion of key questions may be based – questions about subjectivity, interpretation, adaptation and fidelity. Then, in sections three and four, I will look more closely at my own writing process and its intersection with the autobiographical and biographical writings of others. Here I will examine the biopic genre and connect it with reflections on theories of adaptation, furthering this discussion by exploring alternate ways in which both my screenplay, as well as biopics in general, may be read in relation to the contested issue of fidelity.
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Heslinga, Margaretha Elizabeth. "The significance of editing techniques in the adaptation of play texts into film." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86533.
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Thesis (MDram)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis sets out to provide comparative analyses of selected play texts and their film adaptations in order to demonstrate the significant role that editing techniques play in translating the play text’s dramatic elements into the visual language of film. The purpose of a film adaptation is to present a new interpretation of the play text that audiences will find engaging. In order to establish how the film medium is potentially able to enhance or alter the audience’s understanding of the original source text, the study turns to the field of semiotics to determine how the play text’s themes, plot and characters – embodied in a verbal sign system – are adapted into the audio-visual sign system of film. While cinematography, production design and music are critical elements in film making, editing can be regarded as the distinctive and fundamental signifying practice in the construction of meaning in a film. This will be the point of departure in analysing how meaning is “translated” from one sign system into another in the process of adaptation. By manipulating the key relations between shots, editing is able to guide the audience’s understanding of the film narrative, amplify character development, and generate intellectual and emotional responses. Different editing conventions have therefore been developed to amplify the dramatic effect of the narrative and the filmmaker’s vision. The different effects that editing conventions create in the interpretation of a play text are demonstrated by comparing two cinematic versions of William Shakespeare’s Romeo and Juliet. The use of continuity editing techniques in Franco Zeffirelli’s 1968 film adaptation of Romeo and Juliet is compared to Baz Luhrmann’s use of modern MTV conventions in his William Shakespeare’s Romeo + Juliet (1996). Zeffirelli and Luhrmann both employ different editing conventions to amplify their “readings” of Shakespeare’s play text, thereby presenting an adaptation that their target audience will find engaging. The film adaptations of Shakespeare’s Romeo and Juliet therefore demonstrate the significance of different editing techniques in conveying meaning within a specific reception context. The series of reinterpretations of Christopher Isherwood’s Goodbye to Berlin (1939) illustrates how editing techniques are able to transfer Isherwood’s themes and political commentary on the rise of Nazism in Weimar Berlin across various texts and mediums, which include the film adaptation I am a Camera (1955) directed by Henry Cornelius, the Broadway musical Cabaret (1966) directed by Joe Masteroff, and finally Bob Fosse’s musical film Cabaret (1972). The comparative analyses of the above-mentioned source texts and their subsequent film adaptations demonstrate how different editing techniques are able to highlight new perspectives on the source material. Editing conventions are therefore highly significant in the creation of cinematic representations of the play text as they lead audiences to “read” the dramatic narrative within new contexts, using the visual language of film to create new insights that will complement the audience’s understanding and appreciation of the play.
AFRIKAANSE OPSOMMING: Vergelykende analises tussen gekose speeltekste en hul verwerkings vir film word in hierdie tesis uiteengesit om die betekenisvolle rol wat redigeertegnieke in die vertolking van die speelteks se dramatiese elemente in die visuele styl van die film speel, te demonstreer. Die doel met ’n filmverwerking is om ’n nuwe interpretasie van die speelteks aan te bied wat gehore vasgevang sal hou. Om te bepaal hoe die filmmedium die gehoor se begrip van die oorspronklike teks potensieel kan versterk of verander, gebruik hierdie studie die veld van semiotiek om vas te stel hoe die speeltekste se temas, intrige en karakters – beliggaam in ’n verbale simboolstelsel – aangepas word in die oudiovisuele simboolstelsel van die film. Terwyl filmfotografie, produksie-ontwerp en musiek kritiese elemente in die vervaardiging van films is, word redigering as die onderskeidende en fundamentele belangrike praktyk in die konstruksie van betekenis in ’n film geag. Hierdie is die vertrekpunt in die analisering van hoe betekenis “vertaal” word van een simboolstelsel na ’n ander tydens die verwerkingsproses. Redigering kan deur middel van manipulering van die sleutelverwantskappe tussen skote die gehoor lei om die narratief van die film te verstaan, karakterontwikkeling uit te brei en intellektuele en emosionele reaksies te skep. Onderskeie redigeerkonvensies is dus ontwikkel om die dramatiese effek van die narratief en die filmvervaardiger se visie te versterk. Die verskillende resultate wat deur middel van hierdie tegnieke in die interpretasie van ’n speelteks verkry word, word toegelig deur die twee filmweergawes van William Shakespeare se Romeo and Juliet te vergelyk. Die gebruik van kontinuïteit-redigeertegnieke in Franco Zeffirelli se 1968 filmverwerking van Romeo and Juliet word vergelyk met Baz Luhrmann se gebruik van moderne MTV-konvensies in sy William Shakespeare’s Romeo + Juliet (1996). Beide Zeffirelli en Luhrmann gebruik verskillende redigeerkonvensies om hulle “lees” van Shakespeare se speelteks toe te lig en daarmee ’n verwerking wat hulle teikengehoor vasgevang sal hou, te bied. Die filmverwerkings van Shakespeare se Romeo and Juliet demonstreer dus die belang van verskillende redigeertegnieke in die oordra van betekenis binne ’n spesifieke konteks waarin dit ontvang word. Die reeks herinterpretasies van Christopher Isherwood se Goodbye to Berlin (1939) illustreer hoe redigeertegnieke in staat is om Isherwood se temas en politieke kommentaar aangaande die opkoms van Nazisme in Weimar Berlyn oor verskeie tekste en mediums oor te dra. Insluitend hierby is die filmverwerking I am a Camera (1955) onder regie van Henry Cornelius, die Broadway musiekblyspel Cabaret (1966) onder regie van Joe Masteroff, en laastens Bob Fosse se musiekfilm Cabaret (1972). Die vergelykende analise van bogenoemde tekste en hul daaropvolgende filmverwerkings demonstreer hoe verskillende redigeertegnieke nuwe perspektiewe op die oorspronklike materiaal na vore kan bring. Redigeerkonvensies is uiters betekenisvol in die skep van filmiese voorstellings van die speelteks aangesien die gehoor daarmee gelei word om die dramatiese narratief binne nuwe konteks te “lees” deur gebruik te maak van die visuele styl van die film om nuwe insig te skep wat die gehoor se verstaan en waardering van die stuk aanvul.
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Korbon, Nastia. "L' adaptation du Nouveau Testament : cinéma, télévision, apostolat par le film 1897-2004." Paris 1, 2005. http://www.theses.fr/2005PA010583.
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S'appuyant sur l'étude détaillée de plus de 60 films, ma recherche analyse l'adaptation du Nouveau Testament depuis les toutes premières Passions (1897) jusqu'à l'époque contemporaine afin d'identifier les diverses techniques narratives utilisées et les différents types de monstrations christiques proposées. Après avoir développé l'époque muette, elle aborde, ensuite, une sélection des nombreuses reconstitutions historiques proposées par le cinéma - récits extensifs et segments de la Vie du Christ - puis s'intéresse à d'autres exemples plus singuliers d'adaptations: œuvres atypiques (comédies musicales, reconstitutions théâtrales, parodies) et adaptations cinématographiques d'ouvrages littéraires s'inspirant des Evangiles (romans et essais). Puis, mon étude considère divers exemples d'adaptations du Nouveau Testament à la télévision centrés soit sur la Vie de Jésus, soit sur sa Passion ou son Enfance. En dernier lieu, ma thèse évoque l'aspect le plus méconnu des adaptations des Evangiles à travers le prolifique Apostolat par le film religieux des années 50 à 1999.
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Skotnicki, Michal. "Popcorn Politics – Selected Philip K. Dick Stories in Contemporary Film Adaptations." Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-112981.
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This essay is a comparative anlysis of ”Paycheck”, ”The Minority Report” and ”Adjustment Team” by Philip K. Dick and their film adaptations, Paycheck, Minority Report and The Adjustment Bureau. I am primarily interested in the political message of the original stories and how it is affected in the process of transmediation into film. The political message is clearly reflected in the way the protagonists’ free will relates to the bigger system of power. This relationship can either problematize the protagonist’s struggle, forcing him to sacrifice something, or simplify the political dimension by letting him overcome every single obstacle. The extent of the political message is enhanced by its allegorical meaning, especially when related to the contemporary reality. Therefore, I will investigate how the texts and films can be read allegorically and what impact the process of adaptation has on the allegories. I will use Fredric Jameson’s approach to allegory that treats it as a method of interpretation and a tool of mediation and understanding the diversity of human experience. I argue that the allegorical element functions rather independently of the literal political message. When some allegorical interpretations are lost, new ones, connected to the sociocultural context of the adaptation are created. All three adaptations reduce the scope of the political message found in the original texts, opting for less reflective entertainment or even action cinema. Nevertheless, on the allegorical level, they offer new interpretations that echo their updated sociocultural conditions. Keywords: Philip K. Dick; Political Message; Allegory; Adaptation
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Smyth, Pamela Lou. "The marriage of two minds: The divine deliverance of Peter Shaffer's Amadeus from stage to film." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/903.
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Angerman, Elizabeth Ellen Julia. "“The Idea of Eternal Return”: Palimpsests and National Narratives in Czechoslovak New Wave Literary Adaptations." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275067749.
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Bauman, Matthew R. "K. Stays in the Picture: Filming the Novels of Franz Kafka." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337288471.
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Grobben, Karen Ann. "Retelling Grimm girlhood : representations of girlhood in the contemporary fairy tale film adaptation cycle." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24306.
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Working within the filmic fairy tale adaptation cycle that emerged between 2005 and 2015, this thesis investigates how girlhood is cinematically constructed through the lens of fantasy, in relation to gendered representation in media. The relationship between femininity and fairy tales is well-established. By reading contemporary filmic adaptations of the tales, the thesis deconstructs gendered myth-making and reveals the extent to which fairy tale imagery and plot continue to inform cultural constructions of girlhood. It argues that by centring upon young female protagonists and often targeting a young female audience, this cycle constitutes a newly emerging young woman’s cinema. In doing so, the thesis relates the contemporary fairy tale adaptation cycle back to gendered histories of media and genres traditionally associated with female audiences (such as the Female Gothic, the Melodrama, the Costume Drama and so on). The thesis analyses their similar narrative strategies of using iconographical objects, haunted spaces and evocative settings. The cycle’s cultural denigration is critiqued for its association with mainstream and primarily female audiences. The act of adapting fairy tales to construct girlhood through fantasy thus necessitates exploring the ideological implications of gendered genres, their narrative strategies as well as complex processes of adaptation, from tale to screen. How these films, by centralising girlhood, explore female fantasies and desires, trauma, gendered violence and coming of age, is explored throughout. The thesis argues that a highly specific mode of girlhood comes to the fore in this cycle, within particular cultural (social, racial and narrative) parameters. This mode of fairy tale girlhood is imperilled, spectacular and exclusionary, generating disturbing implications of how young women are represented and addressed in popular media. As in women’s films of previous eras in film history, however, the fairy tale adaptation cycle both reinforces and challenges the rigid parameters in which girlhood is cinematically imagined.
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Camarillo, Emmanuel. "Analysis of Character Translations in Film Adaptations of Popular Literature." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/872.
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A brief look at the history of film adaptation studies and its terminology. Character differences between a piece of literature and it's film version are compared in three separate case studies. The film adaptations of a graphic novel, a classic novel, and a play are analyzed on the basis of the changes made to specific characters within their respective stories and the effects of those changes on the overall outcome of the film.
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Kirlew, Akil. "The horror film genre as an interpretive device in an adaptation of Tennessee Williams 's Suddenly last summer." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/19143.
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As my thesis, I have made an adaptation for film of Suddenly Last Summer by Tennessee Williams. The play tells the story of a young woman, Catharine Holly, who has been institutionalized shortly after her return to New Orleans from a vacation on the island of Cabeza de Lobo. Her cousin, Sebastian, a wealthy poet and gay sex-tourist died on this trip. He was killed and partially eaten by a group of impoverished young men (at least some of these men were his former sexual partners). Sebastian's mother, Violet Venable - in the hopes of suppressing the true circumstances surrounding the death of her son - attempts to persuade an ambitious young doctor to lobotomize Catharine as the play opens. It should be noted that the horror film genre has greatly affected my thinking about this project, and I will be discussing three sub-genres of horror at some length: body horror, the slasher film, and race horror. The horror films and trends to be discussed come, in the main, from the period ranging from the late 1970s to the early 1990s and will, I think, be of great help in explaining certain choices I have made in the course of making this film. My main interest is determining whether the themes present in Williams's original text can be explored and expanded upon via recourse to the horror genre. Additionally, my film moves the action of Suddenly Last Summer from the New Orleans of the early half of the twentieth century to modem-day Cape Town. However, the action takes place in a sort of netherworld or blank space that serves as metaphor for both cinema and the white cube of the gallery. This choice of staging is meant to refer to Catharine's mention of the "blazing white wall" against which her cousin's body was thrown after his death. In fact, all throughout Catharine's description of how and why Sebastian died-and it must be remembered that it is this description that serves as the denouement of the play-mentions of white light, white heat, Sebastian's whiteness (as opposed to simply saying he looked pale), and the whiteness of the day itself are employed as a sort of leitmotif That Catharine uses "whiteness" in describing an incredibly violent chapter in her past is crucial to my understanding of the text and has helped me craft a cinematic strategy for my adaptation of this play. The violence and savagery that has marked Catharine's past has followed her into the present, just as it has followed her from the impoverished island of Cabeza de Lobo to the wealthy Garden District of New Orleans, and-if Violet Venable has her way-it will follow Catharine into her future. Taking the key descriptive element of that violent day in Cabeza de Lobo and using it to paint the world of Catharine's present will, I hope, make this connection clear.
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Phillips, Nathan C. "Beyond Fidelity: Teaching Film Adaptations in Secondary Schools." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1910.pdf.
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Langlois-Marcotte, Dominic. "Adaptation cinématographique de la nouvelle Femme de lumière de Claude Vallières : scénario, film, démarche de création et réflexion sur la lumière dans le film noir." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28116/28116.pdf.
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Smith, Grace B. "Austen Girls." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/925.
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Based on the novels of Jane Austen, when naïve Catherine Morland is accepted into the prestigious Austen Academy for Girls, she finds herself completely unprepared for the high class world of loyalty, backstabbing, and goose-related theft. In this condensed pilot, Catherine is kidnapped by the girls of her dorm, Emma Woodhouse, Lizzy Bennet, Marianne and Ellie Dashwood, Anne Elliot and Frankie Price, to join them in reclaiming the pride of their school, their mascot, Cassandra. Cassandra is a taxidermized goose who has been kidnapped by the boys of the neighboring school, Steventon School for Boys. Steventon and Austen have been feuding over the goose for 50 years, and Catherine must decide if she wants to get sucked in to the fight.
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Heidt, Todd W. "Modernity in Word and Image: Narrative Literature and Film in Weimar Germany." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1265989144.
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Lewis, Alicen M. "Fish Out of Water: A Transmedia Adaptation of The Little Mermaid." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/601.
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Fish Out of Water: A Transmedia Adaptation of The Little Mermaid is a critical examination of how by using transmedia approaches to storytelling we are able to make characters with less common background more relatable. In this project the story of Maria, a first generation student, is told through the mediums of vlogs, blog posts, tumblr, and twitter.
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Richards, Samantha. "Pacing Your Fears: Narrative Adaptation in the Age of Binge Culture." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1087.
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Entertainment is an ever-changing medium, and television specifically has gone through many technological innovations since its bright beginnings. These innovations have consistently changed the way stories are told. Stylistic shifts in key elements ranging from shot format to the way shows are constructed can be seen especially clearly in horror which does not have the same narrative constraints as many other genres, and therefore more room to experiment. By tracking changes in the narrative formats of serialized and anthology horror shows, I define a new era of television brought about by the prevalence of streaming, and the rise of binge culture.
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Linter, Simon. "Mary Shelley’s Unrealised Vision : The Cinematic Evolution of Frankenstein’s Monster." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104476.
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Mary Shelley’s novel Frankenstein has been the direct source for many adaptations on stage, television and film, and an indirect source for innumerable hybrid versions. One of the central premises of Julie Sanders’s Adaptation and Appropriation (2006) is that adaptations go through a movement of proximation that brings them closer to the audience’s cultural and social spheres. This essay looks at how this movement of proximation has impacted the monster’s form and behaviour and concludes that this is the main reason Shelley’s vision of her monster has rarely been accurately reproduced on screen. It is clearly impossible for an essay of this length to adequately cover the vast number of adaptations spawned by Frankenstein. It is clear that James Whale’s Frankenstein (1931), where the monster has a bolt through its neck and a stitched forehead, created the stereotype that has been the source for many other Frankenstein film adaptations. However, contemporary film adaptations cater to target audiences and specific genres, while also reflecting the current political climate and technological innovations. The conclusion reached here is that while the form and behaviour of Frankenstein’s monster in film has inevitably been revised over the years, precisely as a result of social and cultural factors, it is the stereotype created by Whale that has prevailed over the figure produced by Shelley. This, in turn, supports and confirms Sanders’s theory of movement of proximation.
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Strong, Richard Jeremy. "Six English novels adapted for the cinema." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2605.
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This study examines the film adaptations of six English novels; Sense and Sensibility, Emma, Tess, Jude, A Room with a View and A Passage to India. Through textual analysis of both the films and the original novels it demonstrates that many of the changes which occur in the transition between media are explicable in terms of differences between film and literary genres. Most previous writing on adaptation has tended to explain such changes as a consequence of film and literature having different signifying or expressive capacities. Whilst this study does not argue that literary styles and devices have necessary or inevitable equivalents in film form, it does propose that filmmakers can find satisfying and comprehensible correlatives for written idioms, and that differences between novels and their adaptations are not therefore always best understood as arising from failures in the mechanics of translation. In its consideration of what each film alters and omits this study finds compelling evidence that they are reshaped in particularly genre-related ways. This takes the form both of alterations that place an adaptation more comfortably in a particular fihn genre than the original story materials might allow, and changes which diminish or elide the operation of a literary genre to which the original novel belongs or relates. Sense and Sensibility, Emma and A Room with a View are discussed in terms of how they become romantic comedies, while the Hardy adaptations are the occasion of most of the original melodrama being omitted. Other genres and modes which pose problems and questions in adaptation - including tragedy, the didactic and the modern - are also examined. Additionally, this study will consider the political contexts and conditions of production of the novels and their adaptations as well as examining the extent to which the films may be said to be authored.
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Cundick, Bryce Moore. "Translating Huck: Difficulties in Adapting "The Adventures of Huckleberry Finn" to Film." BYU ScholarsArchive, 2005. https://scholarsarchive.byu.edu/etd/256.
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Filmmakers have had four main difficulties adapting The Adventures of Huckleberry Finn to film: point of view, structure, audience and the novel's ending. By studying the different approaches of various directors to each obstacle, certain facts emerge about both the films and the novel. While literary scholars have studied Huck from practically every angle, none have sufficiently viewed the book through the lens of adaptation, despite the fact that it has been adapted to film and television over twenty times. The few critics who have studied the adaptations have done so using dated methodologies that boil down to little more than a question of how faithfully the films recreate the novel. By judging a movie solely on the basis of the book's merits, critics ignore the fact that a change in medium necessitates a change in material. With each adaptation, a new opportunity arises to study the novel from a fresh standpoint.
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Anticoli, Rahel. "Cultural Adaptation of Cancer Campaign Films : A comparison made between beauty commercials; United States ofAmerica and India." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27472.
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Uppsatsens syfte är att göra en filmanalys av kampanjfilmer om bröstcancer som var skapade av kosmetiska företag i Indien och U.S.A. I uppsatsen undersöks hur semiotiska resurser var påverkade av kulturen och hur kampanjerna har använt kulturell adaption i marknadsföringssyfte. Jag beskriver en denotation av två filmer från varje land följd utav en konnotation som stödjs av artiklar och böcker om respektive kultur. Avslutningsvis tar jag upp och diskuterar de olika teorierna om hur kulturell adaption kan påverka en människa ur ett marknadsföringsperspektiv. Slutsatsen är att nationalism och appropriation är några av de viktiga elementen i kulturell adaption som förstärker marknadsföring. Dessa element skapar självidentitet och förtrogenhet hos individen som tittar på filmen. Några semiotiska resurser som hade förändrats i kulturell adaption och som hälpte till att skapa de elementen var etnicitet, gester, kläder, miljö, och symboler.