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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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Sun, Yi. "Adaptation and Adaptability: Multiple Authors and Studio Authorship in SoulMate." Adaptation 13, no. 1 (October 11, 2019): 113–28. http://dx.doi.org/10.1093/adaptation/apz025.
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Abstract This article examines a China-Hong Kong co-produced film adaptation, SoulMate, within sociocultural, industrial, and organizational contexts. It argues that, first, the film adaptation’s authors are not limited to the agents who adapt the source material. The production company explores and exploits a variety of authors, including extrinsic names to the work, as symbolic resources to serve the discourse surrounding the film; and the adaptation status makes a special contribution to that process by multiplying authors and by generating cross-references. Second, film adaptation has a specific and significant bearing on the adaptability of production houses that encounter changing sociocultural and industrial environments. This article hopefully broadens the understanding of film adaptation in alternative historical periods and industrial contexts other than Hollywood with a simultaneous effort to propose new approaches to the study of Chinese-language film adaptation. It also attempts to expand the discourse of authorship in film adaptation studies and in film studies more generally by identifying filmmaking entities, in addition to directors, producers, and writers, as adaptive co-authors and non-conflicting stakeholders in the business of film adaptation.
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Hilderbrand, Lucas. "Adaptation." Film Quarterly 58, no. 1 (2004): 36–43. http://dx.doi.org/10.1525/fq.2004.58.1.36.
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Abstract This review of Adaptation (2002) argues that the film productively narrativizes masturbation's myriad associations, pathologies, and, most importantly, possibilities for creative inspiration. The self-reflexive film presents writers as autoerotic fantasizers who suffer through malaise and self-doubt,and struggle to express themselves and to believe in what they are writing.
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Costa, Cynthia Beatrice. "An Ironic Overlay: The Use of Voice-Over Narration in The Age of Innocence, by Martin Scorsese." Adaptation 13, no. 2 (November 30, 2019): 161–75. http://dx.doi.org/10.1093/adaptation/apz022.
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Abstract Often praised for its cinematic artistry and faithfulness to the homonymous novel (Edith Wharton, 1920), The Age of Innocence (Martin Scorsese, 1993) is sometimes seen, however, as a reminder of the perils of voice-over narration in fiction films (Herman). By examining its use in relation to notions of novel adaptation (Whelehan; Leitch) and approaching irony in the film as a rhetorical device (Booth; Hutcheon; MacDowell), this article counterpoints the opinion (Travers; Cahir) that the voice-over narration might have decreased the dramatic potency of Scorsese’s work. In doing so, two main hypotheses emerged: (1) displaying a voice that purposefully invokes the novel’s author might have enhanced the degree of association between adaptation and source material, and (2) in deepening the viewers’ understanding of certain scenes by revealing inside information, the voice-over adds an ironic overlay to the film.
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Hark, I. R. "FILM REVIEW: Star Trek (2009)." Adaptation 2, no. 2 (June 30, 2009): 177–79. http://dx.doi.org/10.1093/adaptation/app005.
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Raw, L. "Imaginative History and Medieval Film." Adaptation 5, no. 2 (August 7, 2012): 262–67. http://dx.doi.org/10.1093/adaptation/aps015.
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Connor, J. D. "What Becomes of Things on Film on Film: Adaptation in Owen Land (George Landow)." Adaptation 2, no. 2 (July 27, 2009): 161–76. http://dx.doi.org/10.1093/adaptation/app007.
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Krämer, Lucia. "Claire Monk, Heritage Film Audiences: Period Films and Contemporary Audiences in the UK." Adaptation 6, no. 3 (June 18, 2013): 394–96. http://dx.doi.org/10.1093/adaptation/apt008.
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Hendrykowski, Marek. "Intertext in Film Adaptation." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 13, no. 22 (January 13, 2013): 266. http://dx.doi.org/10.14746/i.2013.22.16.
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Majcher, Agnieszka. "Does the quality of interlingual translation influence the quality of the intersemiotic translation? On the English language film adaptations of S. Lem's The Futurological Congress and Solaris in the light of their translations into English." Journal of Language and Cultural Education 3, no. 3 (September 1, 2015): 144–51. http://dx.doi.org/10.1515/jolace-2015-0028.
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Abstract The aim of this paper is to compare two English language film adaptations (by Steven Soderbergh and Ari Folman) with each other and with the books they are based on. Stanisław Lem’s novels - The Futurological Congress and Solaris - were translated into English and the directors of the films mentioned above were able to work with them. However, while one translation was appreciated by many, including the author of the original, the other one did not get much credit and features many inaccuracies, which will be presented below. The question of how much the quality of translation influences the intersemiotic translation, which adaptation is believed to be, will be examined in the paper. As, according to translation scholars, preliminary interpretation is vital for any translations, it seems justified to state that without being able to refer to the author’s original thoughts the film-makers cannot produce a good adaptation. This will be revised on the basis of comparing examples from the books and films. The analysis will be drawn on an account of translation and film adaptation theories together with the outlining of cultural background for each work.
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Russell, Curtis. "Four Hairsprays, one Baltimore: The city in trans-medial adaptation." Studies in Musical Theatre 12, no. 3 (December 1, 2018): 367–75. http://dx.doi.org/10.1386/smt.12.3.367_1.
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By comparing John Waters’ 1988 film Hairspray with its adaptations narratologically, previous studies of the film have treated the process of adaptation as a zero-sum game that diminishes the political stakes with each iteration. With this article, I suggest that generic tools such as mise-en-scène and choreography have the capacity to transform discourses instead of merely supplanting them. To better understand the discursive spaces opened up by the trans-medial adaptation process, I read the opening scene of Waters’ film and its three subsequent adaptations as a discourse of the city, following Annette Insdorf’s assertion that a narrative’s first moments reflect significant thematic and aesthetic moves on the part of its creators.
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Childs, P. P. "FILM REVIEW: Atonement--The Surface of Things." Adaptation 1, no. 2 (September 1, 2008): 151–52. http://dx.doi.org/10.1093/adaptation/apn017.
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Kennedy-Karpat, Colleen. "Adaptation and Nostalgia." Adaptation 13, no. 3 (September 10, 2020): 283–94. http://dx.doi.org/10.1093/adaptation/apaa025.
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Abstract This essay highlights the shared critical terrain of adaptation and nostalgia: how they critically juxtapose the past with the present, and how they underscore the impossibility of return while also relying on prior experience. It also explores nostalgia’s effect on personal responses to adaptations and its interaction with textual form. Drawing from various areas of literary, media, and performance studies, including film adaptations of children’s literature, Watchmen and its screen adaptations, and Disney’s live-action remakes, this essay underscores how both nostalgia and adaptation are inherently multivalent concepts, and how they each rely on perspective to generate critical meaning.
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Troy, Maria Holmgren. "Dealing with the Uncanny? Cultural Adaptation in Matt Reeves’s Vampire Movie Let Me In." American Studies in Scandinavia 48, no. 1 (March 1, 2016): 25–41. http://dx.doi.org/10.22439/asca.v48i1.5359.
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The aim of this article is to examine cultural adaptation and uncanny potential in Matt Reeves’s vampire movie Let Me In (2010), which is an adaptation of John Ajvide Lindqvist’s vampire novel Låt den rätte komma in (2004) – in English translation, Let the Right One In (2007) – and the Swedish film adaptation (2008), for which Lindqvist wrote the screenplay. The article draws on Linda Hutcheon’s theoretical account of “transculturating” and “transcultural adaptations” as well as on different discussions of the uncanny. My analysis establishes that both films evoke the uncanny by introducing horror into the familiar and ordinary as represented by the geographical setting; however, it also shows that there are significant ideological differences between the American film and the Swedish film and novel concerning gender and sexuality, particularly related to the two central figures of the boy and the vampire, but also in relationships that can be regarded as part of the general social and cultural setting. In short, gender-bending and sexual ambiguities, in addition to the uncanny aspects of the human protagonist, are omitted in the American version. In these respects, Reeves’s adaptation is less complex, less uncanny, and much more ideologically conservative than the Swedish versions.
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Strong, Jeremy. "Straight to the Source? Where Adaptations, Artworks, Historical Films, and Novels Connect." Adaptation 12, no. 2 (July 22, 2019): 165–84. http://dx.doi.org/10.1093/adaptation/apz020.
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AbstractResponding to several recent interventions in adaptation studies that have argued for history-as-adaptation, this article develops a sustained examination of how page-to-screen adaptations may be understood as structured and interpreted in ways analogous to the historical film. Considering the relationship between historical screen texts and the historical novel, including the many novel-to-film adaptations of such stories, the article identifies a distinct subset of adaptations in which artworks and literary works are engaged as the ‘source’ for fictional and semi-fictional narratives that ostensibly address the circumstances of their creation. Re-purposing the term ‘origin story’ to characterize these stories, the works of historical novelist Tracy Chevalier are posited as examples of this creative adaptive practice. In addition, this article argues for the trope of ‘bringing-to-life’ and the associated domain of re-enactment as key modes, deeply resonant since the earliest phases of cinema technology, for figuring both the page-to-screen adaptation and historical film. Finally, the 2015 historical biopic and adaptation Trumbo and its relationship to a range of sources are examined in the light of ideas proposed in this article.
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Marczak, Mariola. "Filmowe czytanie Szekspira. Adaptacja jako interpretacja. O książce "Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a", red. O. Katafiasz, Kraków 2017, ss. 434." Studia Filmoznawcze 39 (July 17, 2018): 173–83. http://dx.doi.org/10.19195/0860-116x.39.12.
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FILM READING OF SHAKESPEARE. ADAPTATION AS INTERPRETATIONThe text is a review of a book entitled Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a Mirrors and Echoes. Film Adaptation of William Shakespeare’s Works edited by Olga Katafiasz. The monograph is a compilation of studies and essays prepared by filmologists, theatre studies and culture studies scholars referring to various film adaptations of William Shakespeare’s works. At the beginning the reviewer reminds film theories concerning film adaptation and the output of filmology on the topic of film adaptations of Shakespeare’s works. The author situates the book in view within the map of past and update researches of both types and evaluates their quality as a part of them. She underlines that the variety of points of view and research approaches to Shakespeare himself and to his oeuvre in Olga Katafiasz’s elaboration highlight the distinctive place of Shakespeare in nowadays culture, including pop-culture. Moreover, the variety of scholar and artistic approaches to the master from Stratford reveals also cognitive and creative abilities of film art and makes clear cultural productivity and actuality of Shakespeare. The latter means first of all possible achievement of historical and cultural accommodation to different discourses as well as of being a tool of update cultural communication. Namely in Marczak’s opinion Mirrors and Echoes… provides a practical implementation of the film theory of adaptation as interpretation of the source text and endeavors to be a response to those who ask whether Shakespeare remains a vivid author, delivering important questions and important answers for human beings of 21st century.
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McCallum, Robyn. "Palimpsestuous IntertextualitiesAdaptations for Young Audiences: Critical Challenges, Future Directions." International Research in Children's Literature 9, no. 2 (December 2016): 197–214. http://dx.doi.org/10.3366/ircl.2016.0202.
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Historically, literary sources have always provided a rich resource for film narratives, meaning that the history of cinema is closely intertwined with the history of film adaptation. Children's literature in particular has been a favoured source of represented narratives. Some of the earliest film adaptations were of children's texts, many of which have been readapted multiple times. Adaptation studies has been a growth area of scholarly research and debate for at least five decades. However, despite the close imbrication of the film industry and children's literature since the early twentieth century, few adaptation scholars have turned their attention to the rich resource that children's and youth culture provides. This paper surveys dominant shifts in approaches to adaptation, in particular the shift from ‘fidelity criticism’ to a dialogic intertextual approach; the recent move back to a modified form of ‘fidelity criticism’; and the cultural work that has thus far been achieved in the field of adaptation studies and children's and youth culture. In doing so it examines the critical challenges faced by scholars in the field and the potent possibilities future scholarship might pursue.
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Tam, Kwok-kan. "Cinematography in Motherhood: a Hong Kong film adaptation of Ghosts." Nordlit, no. 34 (February 24, 2015): 393. http://dx.doi.org/10.7557/13.3384.
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<p>This is a study of a Hong Kong Chinese film adaptation of <em>Ghosts</em> made in 1960. It deals with processes of cross-cultural and cross-media adaptation, and probes issues of how stage techniques are turned into cinematographic devices. Ibsen’s plays, except <em>Ghosts</em>, have been adapted numerous times for the Chinese stage and screen in Hong Kong and China. Unlike in China, the reception of Ibsen in Hong Kong is not meant for political purposes. In most Hong Kong adaptations, Ibsen is valued for the purpose of theatrical experimentation. Among the stage adaptations, <em>A Doll’s House</em> and <em>The Master Builder</em> are the most popular. However, there was a film adaptation of <em>Ghosts</em> in 1960, which has never been discussed in Ibsen scholarship. In this adaptation, Director Tso Kea borrowed the plot from <em>Ghosts</em> and made a perfect Chinese melodrama film highlighting the Chinese emotions and relations in a wealthy family that undergoes a crisis. In traditional Chinese drama, there is the lack of psychological rendering in characterization and characters act according to moral considerations. In Tso Kea’s film, the portrayal of the mother provides a new sense of characterization by combining Mrs Alving with the traditional Chinese mother figure. The borrowing from Ibsen makes it possible for the Chinese film to create a character with emotional and psychological complexities. Images from the film are selected as illustration in the article.</p>
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Pusztai, Beáta. "Adapting the Medium: Dynamics of Intermedial Adaptation in Contemporary Japanese Popular Visual Culture." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (August 1, 2015): 141–52. http://dx.doi.org/10.1515/ausfm-2015-0031.
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Abstract With respect to adaptation studies, contemporary Japanese popular culture signifies a unique case, as different types of media (be those textual, auditive, visual or audio-visual) are tightly intertwined through the “recycling” of successful characters and stories. As a result, a neatly woven net of intermedial adaptations has been formed - the core of this complex system being the manga-anime-live-action film “adaptational triangle.” On the one hand, the paper addresses the interplay of the various factors by which the very existence of this network is made possible, such as the distinctive cultural attitude to “originality,” the structure of the comics, animation and film industries, and finally, the role of fictitious genealogies of both traditional and contemporary media in the negotiation of national identity. On the other hand, the essay also considers some of the most significant thematic, narrative, and stylistic effects this close interconnectedness has on the individual medium. Special attention is being paid to the nascent trend of merging the adaptive medium with that of the original story (viewing adaptation as integration), apparent in contemporary manga-based live- action comedies, as the extreme case of intermedial adaptation. That is, when the aim of the adaptational process is no longer the transposition of the story but the adaptation (i.e. the incorporation) of the medium itself- elevating certain medium-specific devices into transmedial phenomena.
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Kurikka, Kaisa. "In-between Baby Janes: From book to film to book to film." Journal of Scandinavian Cinema 11, no. 1 (March 1, 2021): 75–87. http://dx.doi.org/10.1386/jsca_00039_1.
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This article is concerned with adaptation as a ‘process of in-betweenness’, a movement of connections, in which the ‘original’ work and adaptations are thought of through analogy, i.e. as similarities born from difference. The connections between two American versions of the story of Baby Jane ‐ Henry Farrell’s novel, What Ever Happened to Baby Jane? (1960) and Robert Aldrich’s film of the same title (1962) ‐ and two Finnish versions ‐ a novel by internationally acclaimed author Sofi Oksanen (2005) and a film directed by Katja Gauriloff (2019), both titled Baby Jane ‐ are discussed emphasizing their narratological and thematic analogies. While the American versions focus on the relationship between two ageing sisters, the Finnish versions tell the lesbian love story of two young women living in contemporary Helsinki. In addition, the article comments on some conceptual questions, such as the relationship between appropriation, adaptation, intertextuality and transfictionality.
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Anne Galpin, Shelley. "Auteurs and Authenticity: Adapting the Brontës in the Twenty-First Century." Journal of British Cinema and Television 11, no. 1 (January 2014): 86–100. http://dx.doi.org/10.3366/jbctv.2014.0193.
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This article examines two recent adaptations of Brontë novels and how they relate to discussions surrounding the adaptation of literary texts into film. The position of Cary Joji Fukunaga and Andrea Arnold as auteurs is considered, as is the way in which this was used in the marketing of the films prior to release. Fukunaga's Jane Eyre (2011) and Arnold's Wuthering Heights (2011) are evaluated as examples of British film-making in terms of heritage/anti-heritage discourses, concluding that while they both reject aspects of the traditional ‘heritage film’, overtly in Arnold's film but more subtly in Fukunaga's, neither can escape the notion of authenticity which is central to discussions surrounding adaptation of classic literature. Although apparently more ‘faithful’, Fukunaga's film stops short of the adherence to source material that was emphasised in the pre-release publicity, ironically suppressing Fukunaga's auteurist vision, while Arnold's more overtly auteurist vision is shown to present difficulties over the issue of authorship when adapting a ‘literary great’. Finally, the article considers the commercial and critical success of both films, noting that the status of both directors as auteurs is a selling point prior to release, but that when tackling period material it can be something of a hindrance in terms of both the commerciality and the artistic style of the piece.
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Fried, Debra. "Hollywood Convention and Film Adaptation." Theatre Journal 39, no. 3 (October 1987): 294. http://dx.doi.org/10.2307/3208151.
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Rumble, Patrick, and Millicent Marcus. "Film Adaptation: Text or Prototext?" Italica 72, no. 1 (1995): 83. http://dx.doi.org/10.2307/479970.
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Gillis, S. "FILM REVIEW: Harry Potter and the Half-Blood Prince." Adaptation 3, no. 1 (December 16, 2009): 51–52. http://dx.doi.org/10.1093/adaptation/app012.
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Mack, Jonathan. "Evoking Interactivity: Film and Videogame Intermediality Since the 1980s." Adaptation 9, no. 1 (January 4, 2016): 98–112. http://dx.doi.org/10.1093/adaptation/apv031.
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Cartmell, Deborah. "The History of British Literature on Film: 1895–2015." Adaptation 9, no. 2 (March 15, 2016): 257–58. http://dx.doi.org/10.1093/adaptation/apw001.
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Pereira, Margarida Esteves. "Michael Winterbottom’s The Claim (2000) as a transnational and transcultural adaptation of The Mayor of Casterbridge." Journal of Adaptation in Film & Performance 14, no. 2 (July 1, 2021): 195–207. http://dx.doi.org/10.1386/jafp_00053_1.
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In this article, we will be focusing on issues of transnational and transcultural film adaptation using as a case study a particular screen adaptation of the novel The Mayor of Casterbridge by Thomas Hardy entitled The Claim (Michael Winterbottom 2000). The article aims to analyse the film in relation to these issues, taking into account notions of transcultural adaptation and transnational film productions, as well as mobility and migration in the context of a nineteenth-century film text. It is not only a text that relocates Hardy’s narrative into a new geographical/cultural dimension, but also it is itself a transnational production. Moreover, in the case of The Claim, there seems to be a clear understanding of processes of intercultural community construction that are particularly productive to look at. The article establishes a link between the particular transcultural perspective raised in this film and Michael Winterbottom’s oeuvre, taking also into account other adaptations of Hardy’s novels by the same director and the Western genre that underlies this film production.
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Cartmell, D. "Now A Major Motion Picture: Film Adaptations of Literature and Drama * Authorship in Film Adaptation." Screen 50, no. 4 (December 1, 2009): 462–65. http://dx.doi.org/10.1093/screen/hjp034.
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Pennacchia, M. "Katja Krebs, ed., Translation and Adaptation in Theatre and Film." Adaptation 7, no. 1 (February 12, 2014): 91–93. http://dx.doi.org/10.1093/adaptation/apu001.
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Serra, I. "From Literature to Film Through Figurative Arts: Italian Imagistic Substitutions." Adaptation 4, no. 2 (November 15, 2010): 137–66. http://dx.doi.org/10.1093/adaptation/apq016.
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Sanders, J. "Andrew Higson, Film England: Culturally English Filmmaking since the 1990s." Adaptation 4, no. 2 (August 1, 2011): 226–29. http://dx.doi.org/10.1093/adaptation/apr009.
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Litovskaya, Maria A. "“Jubilee” film adaptation of the trilogy by A.N. Tolstoy’s “The Road to Calvary”." Philological Sciences. Scientific Essays of Higher Education, no. 2 (March 2021): 69–76. http://dx.doi.org/10.20339/phs.2-21.069.
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The article considers of film re-adaptations of literary texts dedicated to anniversaries that are endowed with a special ideological significance at the state level. It is shown that for film adaptations literarу texts, recognized by the mass audience and based on ambiguous historical circumstances, are chosen. Functionally “jubilee” adaptations support the memory of an event of national importance in society, inform about the position and its changings about this event of the public authorities, allow to capture public sentiment about the event and explicitly or covertly seek to transform the collective memory. It is proved that although the A.N. Tolstoy’s trilogy meets the needs of the mass audience in the ordering of historical events and its optimistic interpretation, the trilogy’s potential ideological ambiguity gives reasons for regularly updating the interpretation of Russian wars and revolutions of 1910th, correlating it with current political requirements. The film (1957–1959), TV movie (1977) and TV series (2017) based on the trilogy are described in terms of their response to the “state order” and simultaneously manifestations of the crisis state of society during the creation of the films. “Thaw” film adaptation focuses on the productive opportunities offered by revolutionary changes to the country and the person, “stagnant” — on the complexity of the revolutionary cultural project, the implementation of which requires personal super-efforts of its participants, “post-Soviet” — on the futility of revolutionary intervention in society and its tragic consequences for each person.
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Sharot, Stephen. "Trans-National Adaptations of the Church Mouse, a Cross-Class Office Romance of the Early 1930s." Adaptation 13, no. 1 (July 26, 2019): 77–97. http://dx.doi.org/10.1093/adaptation/apz015.
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Abstract A Hungarian play, A Templom Egere (The Church Mouse), first performed in 1927, was adapted across nations on stage and for three film versions: the German Arm wie eine kirchenmaus (Poor as a Church Mouse, 1931), an American, Beauty and the Boss (1932), and a British, The Church Mouse (1934). All versions fuse a Cinderella theme with the prevalent discourse of the period on stenographers and secretaries as sexual attractions or as machines, identified with the typewriter, but the versions differ with respect to the heroine’s transformation from machine to alluring female and in their film styles, particularly in the extent and ways they ‘open-up’ the play.
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Et.al, Ariff Mohamad. "The Novel Adaptation Film as a Teaching Language and Literature Media." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 1138–46. http://dx.doi.org/10.17762/turcomat.v12i3.857.
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This research examined the film (movie) adaptation of the novel as a media or materials of instruction that can be used in the teaching of Malay language and literature in schools, particularly secondary schools. This film adaptation involves a movie whose story is taken from novels. The transfer from text to film is a relevant attempt for understanding in the learning process. Film as a medium is not extensively accepted and planned as a learning activity in the classroom or self-learning at home. The advancement of internet and smartphone technology, as well as media such as mp4, YouTube and DVD facilitates access to these films. The analysis of this study was based on the Learning Theory of Constructivism. This study attempted to state the elements of language style and moral values in selected fiction film clips, analyse the frequency of language style elements and moral values. The films were Hang Tuah (1956), Hang Jebat (1961), Langit Petang (1982), Perempuan Berkalung Sorban (2009), and Langit Cinta (2016). The completion of the study revealed elements of language style employed and moral values recognised based on the film clips adaptation of the novel. The conclusions of this research determined that the movie clips met the characteristics of Constructivism Learning Theory and relevant in the teaching and learning of Malay Language and Malay Literature at school
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Dusi, Nicola. "Adapting, Translating, and Reworking Gomorrah." Adaptation 12, no. 3 (March 13, 2019): 222–39. http://dx.doi.org/10.1093/adaptation/apz007.
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AbstractThis article seeks to find a balance between issues concerning adaptation and translation and issues of TV studies and film studies. Adapting a literary text for a movie or for a TV series within the same culture involves a plethora of interpretive, semiotic, and hermeneutic relationships. This case study of the Italian novel Gomorrah (2006) by Roberto Saviano considers diverse strategies of adaptation, illustrating the complex passage through different discourses, practices, and processes from Saviano’s novel to Matteo Garrone’s film (Gomorrah, 2008) and to the TV series (Gomorrah, 2014—on air). The analysis adopts a multidisciplinary methodology in order to draw attention to translational ‘continuities’ from one medium to another and to the differences and ‘discontinuities’ in transmedia reinterpretations of previous source materials.
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Klein, Emily. "Seductive Movements in Lysistrata and Spike Lee’s Chi-Raq: Activism, Adaptation, and Immersive Theatre in Film." Adaptation 13, no. 1 (April 19, 2019): 59–76. http://dx.doi.org/10.1093/adaptation/apz011.
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Abstract This article investigates how Spike Lee’s 2015 Lysistrata adaptation, Chi-Raq, reaches beyond the screen—‘in excess’ of its medium—by using the techniques of immersive theatre to revive Aristophanes’ classical plot as well as his urgent call to citizenly collective action (McGowan, Todd. Spike Lee. Champaign, IL: University of Illinois Press, 2014). Lee’s seductive activist fairytale in rhyming verse imagines a worldwide sex strike led by Chicago’s women of colour. Like its Classical predecessor, the film both critiques and reinforces the spectacular objectification of female bodies; that tension is always in play, even as it successfully brings about a peace treaty between two warring Englewood gangs. To explore this and other socio-political tensions, Lee’s film employs many of the ‘physical, sensual and participatory’ elements that Josephine Machon understands as central to immersive performance (Machon, Josephine. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. London: Palgrave Macmillan, 2013. xv). Crucial to this immersive adaptation is Lee’s transgressive coordination of sight, touch, and sound to aptly update Lysistrata’s acts of refusal as deeply gendered and racialized calls for intimate justice. In effect, audiences learn, move, chant, yearn, and envision a better world alongside the characters in the film. As a result, the goals of Chi-Raq are achieved in ways that are both more compellingly relevant and more radical than any other contemporary Lysistrata adaptation in recent memory.
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Kapetanović, Amir. "“Kaya” from Novella to Film." Colloquia Humanistica, no. 7 (December 18, 2018): 135–52. http://dx.doi.org/10.11649/ch.2018.008.
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Kaya from Novella to FilmThis paper analyses the transformation of K. Quien's novella Kaya into a screenplay adaptation and a film of the same name by eminent Croatian director Vatroslav Mimica. The analysis points out both significant characteristics of the transformation of the text and the transformation of the portrayed Mediterranean urban area (a crime in Trogir), as well as the linguistic stylisation of the characters' Trogir dialect, which contributes to the atmosphere of the film. Discussion of this film has so far only unfolded on the basis of a comparison of Quien's novella and Mimica's film. This analysis thus contributes important information about the structural and narrative characteristics of the unpublished screenplay, which sheds more light on the paths towards the creation of this Croatian film,which is considered V. Mimica's best work and one of the best Croatian films. Kaya, od noweli do filmuW artykule analizowane jest przekształcenie noweli Kaya, zabiję cię K. Quiena w scenariusz adaptacji filmowej, a następnie w film pod tym samym tytułem, nakręcony przez wybitnego chorwackiego reżysera Vatroslava Mimicę. Analiza skupia się na dwóch kwestiach. Po pierwsze, dotyczy przekształcenia tekstu i obrazu przestrzeni śródziemnomorskiego miasteczka (Trogiru). Po drugie, omawiana jest stylizacja językowa, wykorzystanie cech dialektu trogirskiego, przyczyniające się do stworzenia atmosfery filmu. Dotychczasowa dyskusja o filmie jedynie powierzchownie dotykała związków z nowelą Quiena na poziomie porównawczym. Niniejszy artykuł przynosi ważne informacje o strukturalnych i narracyjnych cechach niepublikowanego dotąd scenariusza, co rzuca nowe światło na proces tworzenia filmu, uznawanego za najwybitniejsze dzieło Mimicy i jeden z najlepszych chorwackich filmów w ogóle. Kaya, od novele do filmaU ovom radu analizira se transformacija novele K. Quiena Kaja, ubit ću te preko scenarističke adaptacije u istoimeni film istaknutoga hrvatskoga redatelja Vatroslava Mimice. U analizi se ističu ne samo bitne značajke transformacije teksta nego i transformacija predočene mediteranske urbane sredine (zločin u Trogiru) te jezična stilizacija trogirskoga govora likova, koji doprinosi ambijentalnom ugođaju filma. Do sada se o filmu raspravljalo samo na temelju usporedbe Quienove novele i Mimičina filmskoga ostvarenja, pa ova analiza donosi neke važne podatke o strukturnim i narativnim značajkama neobjavljenoga scenarija, čime se jače osvjetljavaju putovi kreacije toga hrvatskoga filma, koji se smatra najboljim redateljskim ostvarenjem V. Mimice i jednim od najboljih hrvatskih filmova.
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Pardy, Brett. "Selling Marvel’s Cinematic Superheroes Through Militarization." Stream: Interdisciplinary Journal of Communication 8, no. 2 (December 31, 2016): 23–35. http://dx.doi.org/10.21810/strm.v8i2.200.
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The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2011), and demonstrate the significant reorientation towards the military of the film franchise. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment†discursive formation was it finally successful. I argue that superheroes are malleable icons, known largely by the public by their image and perhaps general character traits rather than their narratives. Militainment is introduced through a discourse of realism provided by Marvel Studios as an indicator that the property is not just for children.
Keywords: militarization, popular film, comic books, adaptation
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Murdock-Hinrichs, Isa. "Adaptation, Appropriation, Translation." boundary 2 47, no. 3 (August 1, 2020): 133–63. http://dx.doi.org/10.1215/01903659-8524455.
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The essay analyzes Grant Gee’s and Stan Neumann’s transformations of W. G. Sebald’s The Rings of Saturn and Austerlitz into the cinematic medium. In reproducing Sebald’s methods, both filmmakers undermine traditional filmmaking conventions. By translating and appropriating the stylistics of Sebald’s text, Gee’s work echoes polyvocality and renders the influences and psychological associations of Sebald’s text into externalized fragments that convey the interwoven processes of memory, perception, and spatialization. Neumann reproduces Austerlitz’s observations more faithfully but alters the sequencing of the textual events and incorporates different media into the film. Neumann’s invention of himself as a “character” further undermines the text’s claims to authenticity and, more broadly, the notion of a stable system of signifiers. This intervention of the persona of the translator-filmmaker emphasizes the agency of the translator. Both films are neither adaptations nor translations, but they appropriate elements of Sebald to trace the effects of his techniques.
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Kartika, Bambang Aris, Nanik S. Prihatini, Sri Hastanto, and D. ,. Dharsono. "ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM." Capture : Jurnal Seni Media Rekam 10, no. 2 (April 23, 2019): 20–44. http://dx.doi.org/10.33153/capture.v10i2.2366.
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This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text
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Ryu, Sunghan. "How does film adaptation influence box office performance? An empirical analysis of science fiction films in Hollywood." Arts and the Market 10, no. 3 (October 12, 2020): 125–43. http://dx.doi.org/10.1108/aam-05-2019-0018.
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PurposeThis study aims to identify the factors that influence box office performance in the specific context of the adaptation of science fiction (SF) to film in Hollywood.Design/methodology/approachFifty-one film adaptation cases were collected and empirically analyzed with two-stage least-squares (2SLS) regression.FindingsEmpirical analysis demonstrates that the adaptation of the title, the popularity of the original novel and the director's experience in film adaptation have significant impacts on box office performance.Research limitations/implicationsThe study contributes to the literature by bridging the gap between two separate streams of the research literature on film performance and film adaptation. Moreover, the study has extended the literature on the prediction of film performance by examining important factors in the special context of SF film adaptation.Practical implicationsIn the case of film adaptation, recruiting an experienced director will be a good choice. Author power is also required for attracting more investment and increasing audience share in the short term. From a marketing perspective, pointing out in the title that the film is an adaptation of an original novel would be an advantageous approach.Originality/valueThis is among the pioneering research related to the effects of film adaptation on box office performance. The approach and results of this study direct future studies in many aspects.