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Journal articles on the topic 'Film adaptations'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Yelchyk, Oksana. "Film Adaptations of the Theatrical Performances in Ukrainian Cinematography during the USSR Period." Folk art and ethnology, no. 1 (March 30, 2025): 81–87. https://doi.org/10.15407/nte2025.01.081.

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The article is focused on the processes of film adaptation of theatrical performances in Ukrainian cinema during the period of the Union of Soviet Socialist Republics; their impact on the development of the film industry and national identity is analyzed; the key trends and achievements in this direction are highlighted. The film adaptations of theatrical performances are of a great significance in the development of Ukrainian national cinematography. Studying the history of film adaptation in the USSR (Ukrainian SSR) in the light of the peculiarities of Ukraine’s development enables better un

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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 (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

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Jia, Zhenhua. "The Aesthetic Characteristics and Limitations of Film Adaptations of Classic Literature: A Case Study of The Great Gatsby." Lecture Notes in Education Psychology and Public Media 36, no. 1 (2024): 104–9. http://dx.doi.org/10.54254/2753-7048/36/20240432.

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Under the commercial development of today's film industry and the purpose of recreating excellent texts, there are many film adaptations based on excellent classic literary works. These adaptations attract both literary and film and television audiences. Through the analysis of the audition language and literary original work of The Great Gatsby (2013), this paper summarizes the aesthetic characteristics and limitations of adaptations from classic literature. According to the research, it can be concluded that film adaptations of classic literature bring the literature of some original works,

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Barr, Pippin. "Film Adaptation as Experimental Game Design." Arts 9, no. 4 (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 applyi

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Primorac, Antonija. "VICTORIAN LITERATURE AND FILM ADAPTATION." Victorian Literature and Culture 45, no. 2 (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 vie

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DR, MAZNI MUSLIM, MAIMANAH SAMSURI DR, AISYAH MAZLAN SITI, and ABDUL MANAP NURMA. "FROM PAGE TO SCREEN: A BIBLIOMETRIC REVIEW." Social Science and Human Research Bulletin 02, no. 06 (2025): 195–203. https://doi.org/10.5281/zenodo.15598790.

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One might attribute the inclination for films over novels to several elements, including the features of the media, the demands of modern life, and the immersive encounters given by films. For occupied people in a fast atmosphere, the concision of films is often more pragmatic. Watching a movie requires less cognitive involvement than reading a book, hence it is a more convenient option for people with limited time or attention span. Particularly with CGI and digital effects, technological advancements have significantly affected film adaptations by enhancing the visual representation of compl

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S. D., Bandara. "The Inception of the Film Adaptations Based on the Novels, in the Sri Lankan Cinema." Vidyodaya Journal of Humanities and Social Sciences 08, no. 02 (2023): 26–37. http://dx.doi.org/10.31357/fhss/vjhss.v08i02.03.

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Filmmakers often pursue other source materials to discover inspiration for their narratives and create feature filmmaking in an important way on true events and fictional stories. A film adaptation is a cinematic work, adapted from a work of fiction or nonfiction. Common fiction source materials include novels, short stories, stage plays, radio plays, television series, comics, or video games, while nonfiction sources are memoirs, biographies, or works of journalism. International filmmaking regularly uses an existing work of art as inspiration for their art, and the Film Awards even have an e

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Petrić, Mina A. "WHO’S AFRAID OF LOUISA MAY ALCOTT?" Detinjstvo L, no. 4 (2024): 55–69. https://doi.org/10.46793/childhood24.4.55p.

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This paper analyzes four film adaptations of Little Women (Cukor 1933; Le Roy 1949; Armstrong 1994; Gerwig 2019), to determine to what extent the shifting of the moral premise in otherwise quite similar plots creates a deviation from the original story, and how it affects the classification of the film as a faithful adaptation. The term “moral premise” was coined by Stanley D. Williams in his book of the same name (2006). Williams presents the form of a moral premise throgh four components: virtue, vice, desirable consequences (success) and undesirable consequences (defeat) as follows: “/Vice/

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Pujēna, Anna Paula. "Anšlava Eglīša darbi uz ekrāna un aiz tā: ekranizācijas un filmu apskati." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 30 (March 24, 2025): 148–61. https://doi.org/10.37384/aplkp.2025.30.148.

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Anšlavs Eglītis (1906–1993) is a Latvian poet, artist, author of more than 20 novels, dozens of plays, and countless other literary works. Less known is his work in cinema in the second half of his life. Living in exile in California, USA, Eglītis published reviews of the latest Hollywood films in the newspaper Laiks for almost 30 years. The research aims to determine what kind of legacy the reviews by Eglītis have left in the field of cinema and what form the literary works created by Eglītis have taken in Latvian cinema. The first part of the research is dedicated to the analysis of film rev

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Tamio, Lara Mae M., Marco Sydney M. Mari, Nerisa Joy V. Dag-uman, and Richardson DR. Mojica. "The level of satisfaction of the fans of "The Notebook" movie version in Region 4-A CALABARZON." SDCA Journal of Communication and Media Studies 3 (June 30, 2022): 36–42. https://doi.org/10.5281/zenodo.10208493.

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Movie adaptations of best-selling books are a big part of the film industry, but most of the time, fans are not satisfied with its adaptation. However, The Notebook film adaptation is considered the most successful adaptation of the novels written by Nicholas Sparks. The purpose of this study is to assess the satisfaction of fans with the film adaptation of "The Notebook." The researchers utilized survey questionnaires to rate and evaluate the level of satisfaction of the fans. Using a Pearson Product-moment correlation as the statistical tool of this research, this study analyzed the level of

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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 (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 C

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Xinjia, Ma. "The Absence of Color in the Film Adaptation of Eileen Changs Novels - Take Crumbs of Ligumaloes - The First Incense Burntas a Case Study." Communications in Humanities Research 13, no. 1 (2023): 79–83. http://dx.doi.org/10.54254/2753-7064/13/20230238.

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There are many picture elements in Eileen Changs novel that are suitable for filming, and her works have always enjoyed the title of film on paper. One of the most important elements is the use of color. Over the years, several directors have adapted Eileen Changs novels into film and television adaptations, but most of them have been controversial. As a hidden narrative method of film, color narration plays an extremely important auxiliary role in the overall presentation of the work. This paper will take the latest film adaptation of Eiling Changs novel, Crumbs of Ligumaloes - the First Ince

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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 (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 r

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Stroganov, Mikhail V. "Animated story of Kolobok. 1936–2020." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2022): 131–55. http://dx.doi.org/10.35852/2588-0144-2022-1-131-155.

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The fairy tale Kolobok [The Gingerbread Man] belongs to the group of archaic cumulative fairy tales. Their entire content was reduced to recounting the phenomena of reality, living beings or objects. This type of thinking continues to be relevant for any person during early childhood. But in the modern world, such worldview does not exist and cannot be represented in figurative forms. Meanwhile, the cartoon interpretations of the Kolobok plot claim to be adequate in the transfer of folk pedagogy and morality. It considered to be their high dignity. However, not a single film adaptation conveys

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Markov, Aleksandr V. "THREE DECADES OF ADAPTATION FOR FIVE CLASSICS BOOK REVIEW: FEDOROVA, L. (2022). CINEMA ADAPTATION AS A SYMPTOM. RUSSIAN CLASSICAL LITERATURE SCREENED IN POST-SOVIET TIME." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2021): 155–59. http://dx.doi.org/10.28995/2073-6401-2021-4-155-159.

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Review of the monograph Adaptation as a Symptom by the Russian-American researcher Lyudmila Fedorova, dedicated to post-Soviet film adaptations of the works of Pushkin, Gogol, Dostoevsky, Tolstoy and Chekhov. The question is raised about the limits of the film adaptation, about popularity of Russian literature in the world and lability of its position in modern Russia, and also about the complex imposition of genre, social and ideological attitudes of the authors of adaptations.

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Park, Kunyoung, and Sung-Eun Cho. "The Remake Strategies of Two Little Women: Focusing on Multimodality." Institute of British and American Studies 64 (June 30, 2025): 1–36. https://doi.org/10.25093/ibas.2025.64.1.

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This study compares two film adaptations of the classic American novel Little Women: the 1994 and 2019 versions. The study examines how each film functions as a retranslation of the original text, with particular attention to the contemporary elements emphasized in the 2019 adaptation. Treating film as a multimodal text that employs audiovisual resources, the study focuses on the visual images in both the paratexts and texts of both films. The analyzed visual images include character portrayals, interpersonal interactions, and representations of the period’s social context. Kress and van Leeuw

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Hady, Abdel. "Character Omission in Film Adaptations: A Comparative Analysis." Journal of Research in Vocational Education 7, no. 3 (2025): 41–43. https://doi.org/10.53469/jrve.2025.7(03).09.

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This paper focuses on studying Kenneth Branagh's 2017 Murder on the Orient Express, a film adaptation of Agatha Christie’s novel of the same name, released in 1934. Film adaptations are dynamic portrayals of words in black and white on a colourful screen. Film adaptations make amends like reduction, addition, and modification to the characters, plot, setting, and even style of the novel they are adapted from to foster a deeper understanding and bring cohesion to the portrayed scenes. A major loss of elements can be observed in film adaptations even when original stories remain intact. This pap

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Pinar, Alex. "German Theatre and Intercultural Cinema: A Study of the Japanese Film Adaptations of Gerhart Hauptmann’s Plays." Pandaemonium Germanicum 27, no. 51 (2023): 27–41. http://dx.doi.org/10.11606/1982-8837275127.

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In the 1920s Westernization and modernism characterized the cultural life of big Japanese cities, and the cinema quickly became the main entertainment of the urban masses. In this decade studios began to shoot movies following the cinematic techniques and narrative styles of European and American cinema, and increased production of film adaptations of Western literature works popular at that time. This paper focuses on the adaptations of German literature works, specifically of Gerhart Hauptmann plays, produced in Japan during the 1920s. While those films have been lost, stills and reviews of

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Kong, Xinyu. "Differences Between Two Shakespearean Adaptations: An Analysis of Two Film Adaptations of The Tempest from the Perspective of Gender." Communications in Humanities Research 26, no. 1 (2024): 256–66. http://dx.doi.org/10.54254/2753-7064/26/20232080.

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In recent years, some social phenomenon (e.g. changes in clothing of male and female) reveals that the gender identity is gradually changing. This essay mainly focuses on analyzing gender differences in the two adaptations of Shakespeares tragicomedy The Tempest. The two selected films are The Tempest directed by George Schaefer in 1960 and directed by Julie Taymor in 2010. This essay is attempting to find out in what way do the male and female characters change in the film in 2010 compared with the film in 1960. Although, Shakespeares work had already been adapted and researched by a consider

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Russell, Curtis. "Four Hairsprays, one Baltimore: The city in trans-medial adaptation." Studies in Musical Theatre 12, no. 3 (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, follow

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Cattrysse, Patrick. "Film (Adaptation) as Translation." Target. International Journal of Translation Studies 4, no. 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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Zhou, Manyu. "An Exploration of the Phenomenon of Online Novels, Film and Television Adaptations, and Popular Broadcasts." Communications in Humanities Research 22, no. 1 (2023): 205–11. http://dx.doi.org/10.54254/2753-7064/22/20231718.

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When it comes to the hit phenomenon of online novel film and television adaptations, people have entered an exciting and vibrant cultural era. Web novels and film adaptations have become a force to be reckoned with in today's entertainment industry, playing a key role in shaping culture, shaping audience psychology, and driving economic growth. This study provides a comprehensive perspective on the phenomenon of online novel film and television adaptation, providing valuable insights and insights for academia and industry. This phenomenon is not only part of the entertainment industry, but als

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Sanghavi, Karishma, and Shalini R. Sinha. "Bond and Bhardwaj: Critical Analysis of Ruskin Bond’s Novella, ‘Susanna’s Seven Husbands’ and Short Story ‘The Blue Umbrella’ and their Film Adaptations ‘Saat Khoon Maaf’ and ‘The Blue Umbrella’ by Vishal Bhardwaj." International Journal of Research and Scientific Innovation XII, no. V (2025): 360–66. https://doi.org/10.51244/ijrsi.2025.120500028.

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Fiction and Films are two different media that involve different approaches. A novel that is successful may not be adapted into a successful film and sometimes a film adaptation turns out better than the original novel or story. This paper attempts to critically analyse Ruskin Bond’s novella, Susanna’s Seven Husbands and its film adaption directed by Vishal Bhardwaj – 7 Khoon Maaf, starring Priyanka Chopra as the female lead as well as Ruskin Bond’s The Blue Umbrella and its film adaptation of the same name by Vishal Bhardwaj starring Pankaj Kapur and Shreya Sharma. Although Susanna’s Seven Hu

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Biernacka-Licznar, Katarzyna. "Soviet children’s film adaptations: Cipollino (1959–64)." Journal of Italian Cinema & Media Studies 11, no. 3 (2023): 535–45. http://dx.doi.org/10.1386/jicms_00196_1.

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This article investigates the reception of the Soviet film adaptations of Gianni Rodari’s Il romanzo di Cipollino (Tale of Cipollino) (1951), a book about the adventures of a clever and resourceful ‘little onion’ which was adapted to the screen several times in the Union of Socialist Soviet Republics (USSR). In the first part of the article, the genesis of Rodari’s book is recounted along with the reasons for its popularity with children. Subsequently, the article outlines the history of the adaptations of Tale of Cipollino in the USSR, which were not limited to literary rewritings, but also s

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Poborca, Tomasz. "Ballada o adaptacji — gdzie kryje się sens kolejnej pieśni o Narayamie?" Studia Filmoznawcze 42 (August 1, 2022): 53–68. http://dx.doi.org/10.19195/0860-116x.42.4.

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The main purpose of this article is to analyze the text of Shichiro Fukazawa’s The Ballad of Narayama, its two Japanese film adaptations by Keisuke Kinoshita and Shohei Imamura, and to explain the idea behind another attempt by cinema and cinema audiences to assimilate the story into the changing film discourse. Referring both to classical and postmodern theories of adaptation of literature represented in the works of Alicja Helman and Marek Hendrykowski, and to current film studies strategies, the author deconstructs the movies, describes the differences in adaptation processes, and looks for

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Strong, Jeremy. "Straight to the Source? Where Adaptations, Artworks, Historical Films, and Novels Connect." Adaptation 12, no. 2 (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

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Litvina, Tatiana V., and Xuebiao Niu. "CHINESE AND RUSSIAN APPROACHES TO UNDERSTANDING THE PROBLEMS OF SCREEN ADAPTATIONS AND ANIMATED ADAPTATIONS." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (2023): 79–92. http://dx.doi.org/10.36340/2071-6818-2023-19-4-79-92.

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This paper deals with the main problems of screen adaptations of literary works in general and animated adaptations in particular. The authors examine the achievements and gaps in the theoretical study of these topics in Russia and China. Different times, through the voices of scholars, have formed different definitions of the principles of film adaptation. Forms and methods of adaptation evolve, their principles are not permanent and are also subject to change. It is the need of the time to develop a new theory of screen adaptation. After examining a large number of studies dealing with the s

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Таратута, Світлана, та Людмила Прадівлянна. "АНТИТОТАЛІТАРНА СПРЯМОВАНІСТЬ РОМАНУ Т.ШТРАССЕРА «ХВИЛЯ» В КОНТЕКСТІ ДІАЛОГУ ЛІТЕРАТУРИ ТА КІНО". Journal of Cross-Cultural Education, № 6 (10 червня 2025): 77–87. https://doi.org/10.31652/2786-9083-2025-6(1)-77-87.

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This paper examines the formation of a totalitarian society and analyzes the mechanisms of its influence on the individual as depicted in T. Strasser's novel The Wave and its two film adaptations. The study employs comparative, historical-descriptive, and cultural analysis methods. It highlights the documentary basis of the novel, explores the multi-stage history of its creation, and discusses its 1981 film adaptation by American director A. Grasshoff and 2008 screen version by German director D. Gansel. These works of literature and film are examined within the framework of the dialogue betwe

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Felando, Cynthia. "Editor’s Introduction." Short Film Studies 13, no. 1 (2023): 3–4. http://dx.doi.org/10.1386/sfs_00086_2.

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The ‘Editor’s introduction’ notes the two interviews and five critical/analytical articles included in issue 13.1, which include attention to the energy-focused Small File Media Festival; Richard Raskin’s book, The Yin and Yang of Short Film Storytelling (); Thai filmmaker Apichatpong Weerasethakul’s short films; two historical short film adaptations of the Ambrose Bierce story, ‘An Occurrence at Owl Creek Bridge’; the experimental short, Return to Forms; the Malaysian fiction short, Nor from the Second Level, and Portuguese science-fiction short Flores.

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Windarti, Ani, Resneri Daulay, Ulaya Ahdiani, and Zanuwar Hakim Atmantika. "PROSPECT OF ASIAN AMERICAN BOOK TO MOVIE ADAPTATIONS IN THE HOLLYWOOD ENTERTAINMENT INDUSTRY." JOLALI: Journal of Language and Literature 1, no. 2 (2023): 42–51. http://dx.doi.org/10.35842/jolali.v1i2.10.

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This paper explores the prospects of Asian American book-to-movie adaptations in the Hollywood industry. There have been a large number of book-to-movie adaptations in the history of the American film industry, such as Great Expectation (1946), The Silence of the Lamb (1991), and The Great Gatsby (2013) to mention just a few. Some have also been reported to gain fame and economic success in the global film market. The mentioned book-to-movie adaptations were based on Western authors. Meanwhile, history has witnessed the emergence of Asian American writers such as: Bharati Mukherjee, Amy Tan, K

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da Silva Gregório, Paulo. "The stage-within-the-screen: Peter Brook’s film adaptation of King Lear." arcadia 58, no. 2 (2023): 207–23. http://dx.doi.org/10.1515/arcadia-2023-2015.

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Abstract In his film of King Lear (1971), Peter Brook reimagined his landmark production of the play on screen through an intricate interplay of theatrical and cinematic codes. This article revisits Brook’s adaptation, focusing on how its much-discussed debt to theatrical traditions relates to broader issues regarding the production and reception of Shakespearean films in the UK. I argue that the film’s overt affiliation to theatre sets it apart from other Anglophone adaptations of Shakespeare grounded in Hollywoodian conventions that broaden considerably their potential to reach a global audi

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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 th

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Parkala, Naresh. "Queen and Adaptation Theory: From Literature to Film in Purple, Hour, and Brokeback Mountain." Journal of Social Science and Humanities 6, no. 11 (2024): 136–39. https://doi.org/10.53469/jssh.2024.6(11).28.

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This article examines the dynamic interface between literary works and their film adaptations through the lens of various critical theories, with a significant focus on queer theory. It explores how adaptations preserve the thematic essence of the source texts while adding unique audio-visual elements that enhance the storytelling experience. Additionally, the paper discusses the historical resistance to film adaptations within literary circles, highlighting the bias against perceived technological intrusion into the purity of literary creativity. The broader implications of queer theory in an

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Paterson, Ronan. "Additional Dialogue by… Versions of Shakespeare in the World’s Multiplexes." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (2013): 53–69. http://dx.doi.org/10.2478/mstap-2013-0005.

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William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and

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Kumar, Sudarshan. A., and Khan Sartaj P. Dr. "Visualizing Words: Exploring the Aesthetic Dynamics in Cinematic Adaptations of Literary Classics." Criterion: An International Journal in English 15, no. 1 (2024): 204–13. https://doi.org/10.5281/zenodo.10795611.

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This study examines the complex dynamics of converting literary masterpieces into film adaptations, investigating the aesthetic factors that influence these transformations. Since the inception of cinema, filmmakers have encountered several obstacles, including technological restraints, financial restrictions, and audience demands, from its humble beginnings characterized by limited resources to modern-day adaptations. The analysis of film adaptations encompasses various cultural contexts, particularly examining how Indian cinema portrays epics and mythology. The initial adaptations, such as G

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Arriola, Joyce. "A Review of Received/Dominant/Western Film Adaptation Literatures, Or The Possibilities for a (De-Westernized) Filipino Theory." Plaridel 15, no. 2 (2018): 157–88. http://dx.doi.org/10.52518/2018.15.2-06jariol.

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

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Zhang, Shuyu. "Research on the Deletion and Restoration of Literature Works in Film and Television Drama." Communications in Humanities Research 45, no. 1 (2024): 64–68. http://dx.doi.org/10.54254/2753-7064/45/20240060.

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Film and television adaptation of literature has become the mainstream of current film and television works, but literature and film and television, as two different art forms, the adaptation process is very complicated. This paper deeply discusses the various forms of adaptation of original works and the reasons behind them through case studies and qualitative analysis. At the same time, the article points out that there are significant differences between the original literature and the adaptation of film and television, and analyzes the reasons and techniques of adaptation. Meanwhile, takin

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Pardy, Brett. "Selling Marvelâ€™s Cinematic Superheroes Through Militarization." Stream: Interdisciplinary Journal of Communication 8, no. 2 (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 Entertainmentâ€™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

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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

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Ralović, Ivana. "Banovic Strahinja between the song and film." Bastina, no. 55 (2021): 97–115. http://dx.doi.org/10.5937/bastina31-34295.

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This paper brings insight into the content and analysis of the screenplay "Soko" (The Hawk) (1977) which Saša Petrović (1929-1994) created according to the epic folk song "Banović Strahinja". Critical approaches to adaptations are numerous and varied, and in this paper we rely on newer theories (Robert Stam, Linda Hutcheon, Dudley Andrew, David Krantz, Thomas Leitch, Sarah Cardwell...) which perceive the adaptation for other media as an autonomous work of equal status as the original work and which reject fidelity to the original as the criteria for appraisal of adaptations. The comparative ap

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Chen, Hazel Shu. "Acoustically Embodied." Prism 18, no. 1 (2021): 114–37. http://dx.doi.org/10.1215/25783491-8922217.

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Abstract In 1950s and early 1960s Hong Kong, radio permeated in everyday life as a major source of entertainment and information. It subsequently gave rise to a peculiar genre in Cantonese cinema, film adaptations of “airwave novels” (tiankong xiaoshuo dianying 天空小說電影), which flourished in Hong Kong and Southeast Asia. According to the records of the Hong Kong Film Archive, from 1949 to 1968 there were ninety-three film adaptations of radio novels and dramas. Besides drawing the historical contours of the radio-film network in the postwar colonial city, this article studies two exemplary radio

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Grgic, Ana. "Recurrent Themes, Entangled Histories, and Cultural Affinities: Balkan Cinema at the 58th Thessaloniki International Film Festival." Film Quarterly 71, no. 3 (2018): 81–86. http://dx.doi.org/10.1525/fq.2018.71.3.81.

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Since 1993, Thessaloniki International Film Festival has been home to the Balkan Survey program, showcasing new films from the region as well as presenting retrospectives of the work of significant Balkan film directors. Now in its 24th edition, the Balkan Survey offered a survey of new and exciting films from the region, and also included a special tribute on film adaptations. This special tribute, “From Words to Images: Balkan Literature and Cinema,” presented, both new and old, important and ground-breaking works from the archival collections and film heritages of each nation. This selectio

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Kennedy-Karpat, Colleen. "Adaptation and Nostalgia." Adaptation 13, no. 3 (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 adaptatio

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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 (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 influen

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Hamimed, Nadia. "Fostering master two students' reading skills via cinematic literature." Global Journal of Foreign Language Teaching 14, no. 2 (2024): 115–35. http://dx.doi.org/10.18844/gjflt.v14i2.9034.

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The spread of audio-visual culture and the existence of more and more technologies in student life remind teachers and researchers to incorporate audio-visual materials and e-learning into foreign language teaching, especially literature teaching. One of the most popular audio-visual media related to literature that has become increasingly important in the field of literary communication is film adaptation. Therefore, the purpose of this research was to show the potential of film adaptation according to the requirements of literature research. To achieve this purpose, the study is conducted at

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Ardila, J. A. Garrido. "Don Quixote in Film (2005-2015)." Open Cultural Studies 1, no. 1 (2017): 194–202. http://dx.doi.org/10.1515/culture-2017-0018.

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Abstract This article is a first approximation to the analysis of Quixote films released between 2005 and 2015. The analysis of these 68 productions shows a widespread international interest in Don Quixote across more than 20 countries in three continents, with the US as the powerhouse of Quixote films with 22 pictures, followed by Spain with seventeen. This analysis observes four categories of Quixote films-adaptations, sequels, imitations, and documentaries. The nine adaptations abridge the plot of Cervantes’s novel. The 16 sequels tell of Don Quixote’s new adventures outwith Cervantes’s nov

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Wu, You. "Exploring the Differences of Manga Adaptations in Film and Television in the Context of the Era--Taking Slam Dunk as an Example." Lecture Notes in Education Psychology and Public Media 40, no. 1 (2024): 176–83. http://dx.doi.org/10.54254/2753-7048/40/20240746.

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With the progress of the times, the new media technology continues to develop, at the same time, the audience of the cartoon has also changed, and the content that the author wants to convey is also different from before. All these factors lead to the film and television adaptations of cartoons in today's era that have long been different from the past. The Slam Dunk movie, which will be released in 2023, is significantly different from the animated TV version of Slam Dunk, which aired nearly 30 years ago. The film version and the animated TV version have their own merits, and as far as audien

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Bulavina, M. O. "GOGOL’s CREATION IN POSTMODERN FILM INTERPRETATIONS." Bulletin of Udmurt University. Series History and Philology 32, no. 2 (2022): 387–92. http://dx.doi.org/10.35634/2412-9534-2022-32-2-387-392.

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The article focuses on the problem of relationship between Gogol's works and film postmodernism. As you know, the postmodern versions are not at all the last among Gogol`s adaptations. The reason for this is the precedent of the writer's texts. Both contemporary postmodern film adaptations and film adaptations of the past years are studied. The report is from «The Evening on the Eve of Ivan Kupala» (Yu. G. Ilyenko) and «Mirgorod» (M. G. Ilyenko) to the director's works in the 2000s. - «The Case of Dead Souls» (P. S. Lungin), «The Viy 3D» (O. A. Stepchenko), trilogy «Gogol» (E. P. Baranov). Unl

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Bharat, Meenakshi. "Did We Need Another Emma? The Anxiety of Influence in the Bollywood Adaptation of Emma." Humanities 11, no. 4 (2022): 80. http://dx.doi.org/10.3390/h11040080.

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The multiple screen adaptations of Jane Austen’s novels, and in particular, those of Emma (1815–1816), willy-nilly direct audience attention to the problematic continuities between the original novel and Rajshri Ojha’s twenty-first century Bollywood adaptation, Aisha (2010). This essay addresses the issue of the competing influence of Austen and the global cinematic adaptations that precede this Hindi adaptation, even as it assesses the film for its engagement with the adaptation of Austenian social concerns to the particularities of the contemporary upper-middle-class urban existence in India

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Gamboa, Elisa F. "Cultural and gender sensitivity in English literary digital film adaptations." International Journal of Multidisciplinary Research and Growth Evaluation 3, no. 6 (2022): 433–43. http://dx.doi.org/10.54660/anfo.2022.3.6.17.

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