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Relevant bibliographies by topics / Film novelizations

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Academic literature on the topic 'Film novelizations'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Film novelizations"

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Christopher Faulkner. "The Phenomenon of the Film Raconté and the Novelizations of La Règle du jeu." South Central Review 25, no. 2 (2008): 22–44. http://dx.doi.org/10.1353/scr.0.0004.

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Mazurek-Przybylska, Beata. "Film Novelization as Multimodal Translation." Anglica Wratislaviensia 57 (October 4, 2019): 125–36. http://dx.doi.org/10.19195/0301-7966.57.10.

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Novelization, i.e. a literary adaptation of a film, despite its widespread presence on the book market, was treated as a merely commercial phenomenon, and until the late 1990s, it did not inspire any academics research. The main objective of this paper is to show that the phenomenon of novelization can offer new opportunities for linguistics and to reconsider the place of novelization in adaptation and translation studies. It is claimed that the process of film-to-book transformation can be called a translation process. The term multimodal translation is adopted since transforming a multimodal text film into a monomodal one book involves a change of modalities and their density. What follows is an attempt to propose tools that can be used for the effective analysis of multimodal translation, which involve the classical Aristotelian view of the three-part plot of verbal texts and Elżbieta Tabakowska’s theory of cognitive translation. In order to illustrate the film–book translation process, an Interstellar film segment and its book counterpart are analyzed and the conclusion has been drawn that both the film and the book units use the same orientational image schemata. These findings prove that the extension of Tabakowska’s theory to multimodal texts is an adequate framework for the comparison of a film and its novelization.

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Brower, Jordan. "Novelization: From Film to Novel." Modern Language Quarterly 81, no. 3 (September 1, 2020): 394–97. http://dx.doi.org/10.1215/00267929-8351675.

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Sterritt, David. "Wholly Communion: Scenario, Film, Novelization." Framework: The Journal of Cinema and Media 52, no. 1 (2011): 145–63. http://dx.doi.org/10.1353/frm.2011.0042.

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Stephens, Bradley. "Novelization: From Film to Novel. By Jan Baetens." French Studies 73, no. 3 (June 1, 2019): 496–97. http://dx.doi.org/10.1093/fs/knz112.

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Mahlknecht, J. "The Hollywood Novelization: Film as Literature or Literature as Film Promotion?" Poetics Today 33, no. 2 (June 1, 2012): 137–68. http://dx.doi.org/10.1215/03335372-1586572.

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Nikoriak, Nataliia. "Text on the Culturological Border: the Cinemanovel “The Red. Without a Front Line” by A. Kokotiukha." Pitannâ lìteraturoznavstva, no. 102 (December 28, 2020): 164–94. http://dx.doi.org/10.31861/pytlit2020.102.164.

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The article under studies reveals the terminological polymodality of the concept of “cinemanovel” as a screened novel; film genre; an original narrative work that tends to a screenplay; literary text written on the basis of the film and the screenplay to it (film “novelization”). An overview of modern theoretical and practical discourse of the cinemanovel genre is presented in the paper. It has been emphasized that some researchers try to find out the origins of this genre by analyzing the samples in a comparative and intermediate way, while others focus on clarifying the specifics of individual novels, concluding on the synthetic and hybrid nature of this genre. In particular, in this aspect, the cinemanovel-prequel by A. Kokotiukha “The Red. Without a Front Line” (2019) has been analyzed. This text, based on a film screenplay, appears to be a rather complex construct that acquires a double coding – cinematic and literary – hence the genre of the novel (as a product of the synthesis of two arts) contains the key features of both. On the one hand, we have to deal with the preservation of the cinematic codes that pass from the screenplay: fragmentation, word visualization, documentalism, eventfulness, editing, alternation of angles and plans, time reduction, dialogues, character formation in action, characterization through speech, conciseness of phrases in certain scenes to create the effect of maximum tension, image condensation, accumulation of internal tension in the episode. On the other hand (as a result of the so-called “novelization”), the text acquires genre features of the novel. These are: the scale of the narration (although fragmented and condensed), the description of characters’ lives is presented in line with historical events, with the disclosure of their psychology and inner world. Finally, the work is also marked with specifically architectonic, i.e. the author connects his cinemanovels together by means of a plot, the main character and a general artistic idea.

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Goldmark, Daniel. "Adapting The Jazz Singer from Short Story to Screen: A Musical Profile." Journal of the American Musicological Society 70, no. 3 (2017): 767–817. http://dx.doi.org/10.1525/jams.2017.70.3.767.

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The Jazz Singer grew from a moment of inspiration when author Samson Raphaelson saw Al Jolson perform in 1917. Raphaelson's idea of a rising singer, Jack Robin, torn between sacred and secular, became in turn a short story, a play, a feature film, a novelization, and a radio play. With each new adaptation, the music evolved; the thread that binds together all of these stories is the jazz singer's stock in trade—his songs. For Jolson and The Jazz Singer, these songs serve several functions: besides providing a unique snapshot of popular vaudeville melodies in the 1920s and beyond, the songs used in the various tellings of The Jazz Singer have a specific connection to Jolson, providing numerous opportunities to retell his (largely fictionalized) origin story with the very songs he had used to make it on Broadway in the first place. We might then consider The Jazz Singer a proto–jukebox musical, in which preexisting songs with a common thread or history become the basis for a new story. Making extensive use of archival documentation and addressing previously unexamined adaptations of the story, this article shows how each version of The Jazz Singer came to be a musical summary of Jolson's life as a performer.

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"Films into books: an analytical bibliography of film novelizations, movie, and TV tie-ins." Choice Reviews Online 33, no. 06 (February 1, 1996): 33–3079. http://dx.doi.org/10.5860/choice.33-3079.

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Sobreira, Ricardo. "Intramedial and Intermedial Adaptations in the Novelizations of Interstellar and Jumper." Literatura: teoría, historia, crítica 25, no. 1 (January 1, 2023). http://dx.doi.org/10.15446/lthc.v25n1.105322.

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This study aims at discussing how novels such as Greg Keyes’s Interstellar (2014), and Steven Gould’s Jumper: Griffin’s Story (2007) verbally construct a “transmedia storytelling” process (Jenkins) between literature and the films they transpose from the screen to the pages, namely Christopher Nolan’s Interstellar (2014) and Doug Liman’s Jumper (2008), respectively. The analysis, thus, centers on how both tie-in books operate diegetic, narratological, and psychological transformations (Baetens) on preexisting cinematic material. The discussion suggests that Keyes’ novel reworks the screenplay in an intramedial adaptation while making creative contributions to the story in narratological and psychological terms. Gould’s novelization, however, uses image as the generator, in an intermedial adaptation, to promote the verbal and psychological “reincarnation” of characters and to expand the diegetic universe. The study provides some grounds to support the contention that novelizations, through their interactive relation with new media, expand the scope and versatility of the novel as a genre.

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Dissertations / Theses on the topic "Film novelizations"

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Bergel, Erik. "Min onkel : Film blir bok." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-216277.

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Strandberg, Jessika. "The Black Man Behind the Ape : Kong as the “Other” in the Film and Novelization of King Kong." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-34828.

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This essay is a study of the film and novelization of the story of King Kong from the 1930’s. The aims of this paper are to analyze ways in which the character Kong represents the stereotypical image of the black male that existed in American society in 1930 by applying theories of masculinity and ethnicity and how they combined make Kong a representation of an Other. In order to study the construction of Kong as an Other an analysis of the film and a close reading of selected passages of the novelization were made in combination with the theories. Masculinity and ethnicity are studied in terms of how they create Kong’s otherness, casting him as a metaphor of a black male. The conclusion is that the construction of Kong’s ethnicity and masculinity makes him a metaphor of the stereotype of the black male that existed in the American society of the 1930s, i.e. an Other. The conclusion is based on how the contrast is portrayed between Kong and the main characters, the fact that he is a god of the black natives of his island, and how the novelization literally describes Kong as black (and the only black character) in the fictional representation of the hegemonic white city New York.

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Metivier, Anthony Edward. "Novelized! : the history and hermeneutics of film novelization /." 2003. http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss&rft%5Fval%5Ffmt=info:ofi/fmt:kev:mtx:dissertation&rft%5Fdat=xri:pqdiss:MQ99358.

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Thesis (M.A.)--York University, 2003. Graduate Programme in English.
Typescript. Includes bibliographical references (leaves 98-100). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL:http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss&rft%5Fval%5Ffmt=info:ofi/fmt:kev:mtx:dissertation&rft%5Fdat=xri:pqdiss:MQ99358

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Ramos, Hilária Alexandra da Costa. "Crimson Peak: estudo comparativo do filme e da sua novelização." Master's thesis, 2021. http://hdl.handle.net/10316/96959.

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Dissertação de Mestrado em Estudos de Cultura, Literatura e Línguas Modernas apresentada à Faculdade de Letras
Since cinema became the seventh art, it has had a very proximate relationship with literature, be it by inspiration or recreation. The most known process of this relationship is adaptation in which a book, often times popular and well-known, is transformed into a movie. However, there is another process that, in most cases, goes unaware: the novelization. Even though it gained a fast-increasing popularity in the entertainment world, this phenomenon has less visibility in comparison to adaptations. Its peculiarity resides in its opposite motion, from movie to book: in other words, from a movie soon to be premiered, it is decided, due to a variety of reasons, to be recreated in literary format. This phenomenon is not exactly new, however, since its infancy, it has been somewhat overlooked by academic studies, even undervalued. This study aims to prove that novelization implies theorical and practical aspects worthy of further investigation. For this to be possible, an example was analyzed – “Crimson Peak”, a movie by Guillermo del Toro (2015), written by del Toro and Mathew Robbins, and its official novelization, authored by Nancy Holder. First, it was necessary to introduce multiple theories and concepts related to cinema and literature, as a way to better understand this phenomenon in its relation, on a theoretical level, with adaptation, intermediality and “transmedia storytelling”. Then, I proceed to do a comparative analysis of the two objects, taking into account relevant aspects of the historical and cultural connections between the United States and England, a characterization of the spaces that belong to the scenery of the narrative, prominent themes, as well as aspects of the two media – visual and textual. Additionally, the analysis of the objects under study is going to apply those elements, observing how they connect with both narratives (filmic and literary) in an intrinsic way and how it allows novelization to develop and expand certain aspects of the film.This study aims to answer the most crucial question about novelization: is it an art form or just a product of consumption? The case study allows to demonstrate that, even though it is a commercial product, that is commissioned, it is possible to create something artistic if the space for it is allowed and if the writer has literary quality. Otherwise, it will be more difficult to achieve it.
Desde que o cinema se tornou na sétima arte, houve sempre uma relação próxima com a literatura, via inspirações ou recriações. O processo mais conhecido nesta relação é a adaptação, em que um livro, frequentemente popular e bem conhecido, é transformado num filme. No entanto, existe outro processo que, na maioria das vezes, não é tão conhecido: a novelização. Apesar de ter ganho popularidade no mundo do entretenimento, este fenómeno tem pouca visibilidade em comparação com as adaptações. A sua peculiaridade está no movimento contrário, do filme para o livro; ou seja, de um filme prestes a estrear, é decidido, por razões várias, apresentar a sua reconstrução em formato literário. Este fenómeno já não é novo, mas desde a sua origem, que é de algum modo posto de parte nos estudos académicos sendo, aliás, até mesmo desprezado. O intuito deste estudo é demonstrar que, na novelização, existem aspetos tanto teóricos, como práticos, merecedores de investigação. Para isso foi feita uma análise de um exemplo – "Crimson Peak", o filme de Guillermo Del Toro (2015), escrito por del Toro e Matthew Robbins, e a sua novelização oficial, da autoria de Nancy Holder. Primeiro, foi necessário abordar várias teorias e conceitos relacionados com cinema e literatura, como forma de compreender melhor este fenómeno na sua relação, a nível teórico, com adaptação, intermedialidade e "transmedia storytelling". Procedeu-se, depois, a uma análise comparativa dos dois objetos, tendo em conta aspetos relevantes da relação histórica e cultural dos Estados Unidos com a Inglaterra, a caracterização dos locais que compõem os cenários da obra, os temas proeminentes, assim como aspetos dos dois media – o visual e o textual. A análise dos objetos põe esses pontos em relevo, observando como se conectam com as duas narrativas (cinematográfica e literária) de forma intrínseca e como a novelização permite desenvolver e aprofundar certos aspetos do filme. Este estudo procura responder à questão mais colocada sobre a novelização: será uma forma de arte ou apenas um produto comercial? O estudo de caso permite demonstrar que, apesar de ser um produto comercial, encomendado, é possível criar algo artístico se o espaço para tal for permitido e se o/a autor/a tiver qualidade literária. Caso contrário, será mais difícil de o alcançar.

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Andersen, Kirsten. "This is what dreams are made of : the effects of adaptation of popular tween/teen girl novels, films, and screenplay novelizations on constructions of varying femininities : The princess diaries and The Lizzie McGuire movie." Thesis, 2005. http://hdl.handle.net/2429/16471.

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This thesis investigates the representations of adolescent femininity in post-2000 American novels and films produced for tween and teen girl audiences. It uses texts with similar narrative structures to compare the effects of adaptation from book-to-film to the effects of adaptation from screenplay-to-junior novelization. The overall methodological approach is discourse analysis, informed by narrative analysis adapted by Brian McFarlane from the work of Roland Barthes to consider the difference between what is transferred across media and what is adapted. Representations of femininity in the books and movies are explored through the distributional narrative functions, which can be transferred and may be adapted, as well as integrational narrative functions, which generally must be adapted according to medium. Gillian Rose's methods of visual analysis are used to consider the books and movies as objects, accounting for their technological, compositional and social elements. Varying discourses result from adaptation. The book-to-film adaptation strategies of transfer result in similar storytelling in both versions, while re-emphasis and adaptation also alter the discourse considerably. The film-to-book adaptation uses transferring devices and does not fully adapt the movie to a literary medium. All the texts reinscribe certain notions about femininity and offer many stock characters. Both movies imply adulthood as an endpoint of character development, while the book versions offer a consistently adolescent or pre-adolescent point of view. Both movies foreground the act of looking although it is not necessitated by the medium.
Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate

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Books on the topic "Film novelizations"

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Ostrovskiĭ, Gennadiĭ. Soldatskiĭ Dekameron. Moskva: "I︠A︡uza", 2005.

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Valut︠s︡kiĭ, Vladimir. Pervai︠a︡ vstrecha, posledni︠a︡i︠a︡ vstrecha--: [kinost︠s︡enarii i statʹi]. Sankt-Peterburg: Seans, 2008.

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Kemizhizuo. Qiang wei zhi lian. China: Zhi Shi, 2003.

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Andreyko, Marc. Trick 'r treat. La Jolla, CA: WildStorm Productions/DC Comics, 2009.

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Stas, Mokhnachev, and Balabanov Alekseĭ 1959-, eds. Zhmurki. Sankt-Peterburg: "RedFish", 2005.

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Smirnov, Andreĭ. Lopukhi i lebeda. Moskva: AST, 2016.

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Jan, Baetens, and Lits Marc, eds. La novellisation: Du film au roman = Novelization : from film to novel. Leuven: Leuven University Press, 2004.

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Smith, Sherwood. The borrowers: A novelization. New York: Harcourt Brace, 1998.

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Maberry, Jonathan. The Wolfman: A novelization. New York: Tor Books, 2010.

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Maberry, Jonathan. The Wolfman: A novelization. New York: Tor Books, 2010.

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Book chapters on the topic "Film novelizations"

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

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Williams, Rebecca. "Extending the Haunted Mansion : Spatial Poaching, Participatory Narratives and Retrospective Transmedia." In Theme Park Fandom. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462982574_ch04.

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This chapter offers detailed discussion of the transmediality of theme parks and how their narratives and experiences extend across media forms. It takes Disney’s Haunted Mansion as an extended case study, a ride which has been turned into a feature film, but has also seen its narrative universe expanded across comics and novelizations, board games, and video games. Despite the fact that the ride lacks a coherent story, fans have demanded a greater narrative to the ride, causing tensions between Disney and its fans. Introducing the concepts of spatial poaching and retrospective transmedia, the chapter focuses on how producers and fans co-construct transmedia narratives through physical spaces, and over extended periods of time.

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"Transcription of a Silent Film:." In Novelization, 63–79. Ohio State University Press, 2018. http://dx.doi.org/10.2307/j.ctv1m9x34r.8.

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Gleeson-White, Sarah. "Novel Forms: Rose Atwood’s “A Man’s Duty,” Oscar Micheaux’s The Masquerade: An Historical Novel, Willa Cather’s A Lost Lady." In Silent Film and the Formations of U.S. Literary Culture, 105–49. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780197558058.003.0004.

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Abstract This chapter considers a rather unusual literary form generated out of the encounter of motion pictures and literature during the silent-film era: the novelization.. It examines three disparate examples of this: Rose Atwood’s “A Man’s Duty” in the Black press; Oscar Micheaux’s The Masquerade: An Historical Novel, a strange verbatim recycling of Charles Chesnutt’s The House Behind the Cedars, among other things; and the photoplay (movie) edition of Willa Cather’s A Lost Lady. It argues that in adopting, drawing on, and in other ways appealing to or incorporating features of motion pictures—plots, print modes, audiences—the novelization circulated literature and literary form among a moviegoing readership.

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Henderson, Bruce. "Masculinity and Facial Disfigurement in The Man Who Laughs." In ReFocus: The Films of Paul Leni, 189–202. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474454513.003.0011.

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“Masculinity and Facial Disfigurement” examines Leni’s film through the lens of disability studies in film. This chapter offers a reading of The Man Who Laughs that addresses the creative liberties that Leni took when adapting the Hugo novel to the screen and that accounted for the representation of physical disfigurement otherwise lost in Hugo’s original text. As the chapter shows, the cinematic representation of Gwynplaine’s disability, in contrast to that in the novelization, “restores a kind of lost masculinity to Gwynplaine, reminding us, in ways the novel never quite does, that Gwynplaine’s body was as ‘fit’ as any other man’s,” in Henderson’s words. This chapter thus reconceptualizes Leni’s adaptation as a positive portrayal of disability, finding equilibrium between Gwynplaine’s contrasting characteristics of masculinity-femininity and ability-disability that are absent in both the novel and other films in this era.

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Poore, Benjamin. "True histories of the Elephant Man: storytelling and theatricality in adaptations of the life of Joseph Merrick." In Interventions. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995102.003.0011.

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In this chapter Benjamin Poore takes the example of ‘The Elephant Man’ as a test case for how Victorian narratives have been developed in a neo-Victorian theatrical context. After outlining the way that a neo-Victorian stage culture has been developed Poore argues that Bernard Pomerance’s play The Elephant Man (1977) and David Lynch’s 1980 film The Elephant Man can be regarded as twin foundational texts in the modern-day repurposing of the story of Joseph Merrick. The film, originally adapted in part from the surgeon Frederick Treves’s The Elephant Man and Other Reminiscences (1923) was subsequently adapted back into a film novelization by Christine Sparks. Since the early 1980s, Merrick’s story in its various iterations has become a popular way to view nineteenth-century mores and to speculate on how far ‘we’ have come. However, Poore argues that there is a series of tensions between the lip-service paid to the condemnation of Victorian freak shows and the increasingly diverse uses, from comedy sketches to comic books, to which Merrick’s image and story are put. This chapter then considers the wider implications of the case of Merrick for nineteenth-century studies and the neo-Victorian.

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