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Academic literature on the topic 'Film adaptations'

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Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Film adaptations"

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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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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 (January 15, 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, insightful narration, and more aesthetic images to the screen. In the meantime, the characteristics of the film itself add limitations to the subjective world where the text could be extended endlessly. The key to overcoming the limitations is to go beyond the adaptation of "respecting the original work" and take an outright advantage of the characteristics that only films have and are difficult to ignore.
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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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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 (July 1, 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 entire screenwriting category devoted to film adaptations such as Best Adapted Screenplay Award. In Sri Lanka, the film adaptation has been practiced for seven decades to date, and its inception is marked in 1953 with the film ‘Kela Handa’ alias "The Wild Moon" based on the novel of the same name first published in 1933. There are 10 film adaptations from 1953 to 1959 and seems ‘Kela Handa’ has created a trend-setting introduction. Where Sri Lankan Cinema has a span of 1350 locally produced films released since 1947 to date, the film adaptations are over 100 in the list. ‘Kela Handa’ adapts the best-selling novel of the same name and reflects the interplay between the two mediums, without compromising the prominent egos of the Sri Lankan first filmmaker and the Sri Lankan best-selling novelist.
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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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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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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 (November 20, 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 Incense Burntdirected by Ann Hui as an example, combining color narrative theory and film color theory to deal with the absence of color in film and television adaptations, and the strategy for film adaptations of great literature.
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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 the content of the fairy tale in its natural environment. Thus the assessment of the film adaptation should not depend on its compliance with the original work. The fairy tale Kolobok is one of the most popular fairy tales; a large number of animated films have been created on this plot for both children and adults. But since the idea of cumulation is incomprehensible to a modern person, the directors fill the plot of the tale with new solutions and meanings. Children’s film adaptations teach to be careful and not trust the first person they meet, obey their parents and not run away from home. Adult film adaptations deal with the tragedy of human life, the complex relationship between man and power, ironically mention social turmoils. It does not matter whether the positive or destructive nature the new film has, but the most important thing is artistically convincing solution to the problem.
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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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Dissertations / Theses on the topic "Film adaptations"

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Houtman, Coral. "Female voice and agency in film adaptations." Thesis, University of Kent, 2003. https://pure.southwales.ac.uk/en/studentthesis/female-voice-and-agency-in-film-adaptations(1c455936-42d5-4ffa-9d8f-3bbf60d568a2).html.

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This thesis examines the claim that women write differently from men, and employs a methodology which compares a range of film adaptations with the books from which they are taken. The thesis explores the agency and voice of four novels and their film adaptations, 1 using techniques derived from narrative analysis where "the implied author" is the agency responsible for the overall relationship of narration (story telling) to narrative (story) and is also the "voice" - the rhetoric of the text. Psychoanalysis forms a conceptual framework for exploring the performance of sexual difference in these works authored by women, but directed by men, and for investigating psychological thrillers, where issues of sexuality and desire are dramatised, particularly in relationship to death and the fear of obliteration. The thesis considers the 'gendering' of the texts - how they construe sexual difference, through fantasy and through desire. Lacan's discourse analysis enables a further investigation of the possibilities of hysterical agency driving the narrative; anxiety and uncertainty over gender and sexual difference driving the needs of the characters and the narration, and therefore, by implication, the real author or authors. It also discusses whether this hysteria is performed differently by men and women, due to their different subject positions, and thereby creates a potential link between the implied author of the text, and the gender of the real author(s). The real author, the agent of the text, cannot, in this formulation, be regarded as either sovereign or unified. Rather, I theorise, following Althusser and the performative theory of Judith Butler, that authorial voice is an interpellation. That is, they are called up and placed into a network of norms and parameters where they assume the agency of authorship. Agency is therefore contingent and traumatic, and a text which creates a less causal and individualistic performance of narrative agency might also be able to explore the relationship of gender and sexual difference to agency without slipping into the Freudian flaw of making anatomy destiny. I consider Mrs. Dalloway, as a poetic, non-linear form, a multi-voiced and multi-determined narrative, which creates a very rich female portrait of its central protagonist and a selfconsciously female narrative voice. In addressing the traumas and hysterias of sexual difference, and relating them to the analogous traumas created through the abuse of power in other realms of life, Mrs. Dalloway provides an alternative way of thinking about sexual difference, gender and agency, one that privileges creativity, reparation and the need to come to terms with trauma, whether one is male or female.
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Faithfull, Denise. "Adaptations : Australian literature to film, 1989-1998." Thesis, Connect to full text, 2001. http://hdl.handle.net/2123/1771.

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Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed January 22, 2009) Submitted in fullfilment of the requirements for the degree of Doctor of Philososphy to the Dept. of English, University of Sydney. Includes bibliography. Also available in print form.
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Faithfull, Denise. "Adaptations Australian literature to film, 1989-1998 /." Connect to full text, 2001. http://hdl.handle.net/2123/1771.

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Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed January 22, 2009) Submitted in fullfilment of the requirements for the degree of Doctor of Philososphy to the Dept. of English, University of Sydney. Includes bibliography. Also available in print form.
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Pronko, Michael Jackson. "Dickens and film : adaptations in 1930s America." Thesis, University of Kent, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499764.

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Phillips, Nathan C. "Beyond Fidelity: Teaching Film Adaptations in Secondary Schools." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1910.pdf.

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Firth, Catriona Alison. "'Shadowy copies'? : film adaptations of the Second Austrian Republic." Thesis, Durham University, 2010. http://etheses.dur.ac.uk/407/.

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For many years adaptation has been passed between literature and film studies, frequently dismissed as ‘shadowy copies’ and parasitic reproductions, the unwanted bastard child of the disciplines searching in vain for an academic home. Despite the emergence of insightful new scholarship into the development of Austrian film in the twentieth century, the role of the adaptation genre within Austria’s film industry and literary landscape remains an academic blind spot. This study aims to address this gap in critical knowledge, reviewing the potential function of filmic adaptations within the field of Austrian studies. Through five case studies of canonical works of post-war Austrian literature, this thesis sets out to establish adaptation both as a critical tool through which to approach literature and as an object of academic interest in its own right. Drawing on psychoanalytic theory and its application in film studies, these studies compare and contrast the position occupied by the film’s implied spectator with the relationship of the implied reader to the literary text. Rereading the novels retrospectively in light of their adaptations, this approach has the ability to ‘light up dark corners’ of the novels, illuminating those aspects hitherto left in the shadows by literary criticism. It will be argued that adaptation is uniquely positioned to hold up a mirror to literary texts, reflecting their concerns not through the filters of established grand narratives and generic taxonomies but through their creative, cinematic reworking of the novels. In challenging those assumptions that have become commonplace within Austrian literary history, this study calls for a more nuanced approach to literature of the Second Republic and proposes adaptation as the means by which this may be achieved.
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Setiawan, Dwi. "Depoliticisation and repoliticisation in post-colonial Indonesian film adaptations." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/14882.

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This study investigates the depoliticisation and repoliticisation in post-colonial Indonesian film adaptations, primarily focusing on Blood and Crown of the Dancer (1983) and The Dancer (2011), the two adaptations of Ahmad Tohari’s novel The Dancer (1982). The investigation is motivated by a series of problems in adaptation studies, namely, the hegemony of Anglo-American texts, the domination of former British colonies in post-colonial adaptation, and the homogenising construct of the East versus the West in most post-colonial criticism. The novel and the film adaptations recount the long, internal struggles between the military and civil society in the Dutch former colony after the independence. What is prevalent yet forgotten in those works and the domestic conflicts that they emulate is the practices of depoliticisation and politicisation, which have regularly been associated with, respectively, the denial of politics by the military regime and the corruption of ‘apolitical’ realms by its political enemies. This thesis aims to show that the depoliticisation and politicisation in the novel and the adaptations are much more subtle and complex than imagined. Incorporating Flinders and Wood’s theory of depoliticisation, Foucault’s principle of discourse, and Bourdieu’s account of capital, the investigation attempts to capture the discursive depoliticisation and politicisation in the texts as well as the interrelated governmental, societal, and personal factors in adaptation. Although the thesis is structured by the three texts, each chapter draws equal attention to the contexts, subjects, and audiences of each work and scrutinises all of them through the lenses of depoliticisation and repoliticisation. The analysis shows that the depoliticisation and politicisation in the texts generally correspond with those in the governmental, societal, private arenas in their respective eras, particularly on the problems of politics, religion, and sexuality. The novel and the first adaptation embody the typical depoliticisation during the Indonesian military era (1966-1998) in which subversive discourses and practices could surface only as a pretext/justification for the regime’s suppression. The second adaptation, however, signifies the heavy politicisation in the early post-military era (1998-2004) and the subtle depoliticisation in the subsequent time in that it simultaneously interrogates and adapts ‘faithfully’ the issues and the conflicting parties in the informing texts and contexts. Although the case studies are rather specific, the chosen texts and approach allow the thesis to deal with broader issues related to the socio-political history of Indonesia, the literary and filmic discourses and practices, and, in relation to the missing first film adaptation, the cultural status of adaptation studies and practices in the country. Despite their obvious focus on domestic affairs, there are traces of Hollywood’s depoliticising models in both adaptations due to the long, predominant influence of American cinema in Indonesia. This fusion of intracultural and intercultural elements, the transdisciplinary political approach, and the insight from the invisible post-colonial country are the major contributions of the thesis to adaptation studies and post-colonial adaptation.
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Greenberg, Bryan R. "Hollywood and the film development process: The influence of social networks and industry structure on content decisions." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2008. http://wwwlib.umi.com/cr/syr/main.

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Camarillo, Emmanuel. "Analysis of Character Translations in Film Adaptations of Popular Literature." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/872.

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A brief look at the history of film adaptation studies and its terminology. Character differences between a piece of literature and it's film version are compared in three separate case studies. The film adaptations of a graphic novel, a classic novel, and a play are analyzed on the basis of the changes made to specific characters within their respective stories and the effects of those changes on the overall outcome of the film.
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Parke, Maggie. "Incorporating and considering fans : fan culture in event film adaptations." Thesis, Bangor University, 2013. https://research.bangor.ac.uk/portal/en/theses/incorporating-and-considering-fans-fan-culture-in-event-film-adaptations(8e849ae8-1f89-4d5f-bf00-e82b7e87e3a7).html.

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This thesis explores the specific cross section of two fields of study: fan culture, and 'event film' adaptation (Mm'golis, 2009). Here, I put fonyard evidence of the shifting relationship between filmmakers and fans of a popular adapted wlork, and present new modes of engagement for the fans to the adaptation process facilitated by the Internet. This is an investigation of the pertinent research in the fields of adaptation studies (Naremore, 2000; Stam, 2005; Hutcheon 2006), and fan studies (Jenkins, 1992; Bacon-Smith, 1992; Jancovich, 2003; Booth, 2010) in the digital age. I also present my own practical, ethnographic research from film sets, working with a production company and a film funding body, The Film Agency of Wales, interviews, and fan events for analysis of practical application to provide evidence of the dialectical shift in the fan and filmmaker relationship due in large part to the Internet. I Fans now have unprecedented access to the filmmaking process due to digital media applications such as Facebook, Twitter, Pinterest, Tumblr, and the various fan sites and discussion boards that provide immediate information dispersal. The information-sharing abilities and marketing power of fans as well as their immediacy in organizing events and movements can be harnessed and utilized in the adaptation process of the event film . This is affecting filmmaking processes, as many are beginning to incorporate new practices for fan management into their procedures. This thesis examines relevant research on participatory communities, fan culture, and fan management, to argue the new and developing modes of fan interaction and fan influence on event film adaptation. This thesis concludes that the dialectical relationship between the fan and the filmmaker has shifted, as evidenced in the production of the event film
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Books on the topic "Film adaptations"

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Sheth, Nirupama. Tagore, Indian film & film music. Bombay, India: Pankaj Mullic Music Research Foundation, 1994.

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Sheth, Nirupama. Tagore, Indian film & film music. Bombay, India: Pankaj Mullic Music Research Foundation, 1994.

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Demougin, Françoise. Adaptations cinématographiques d'œuvres littéraires. Toulouse: CRDP Midi-Pyrénées, 1996.

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

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1944-, Boozer Jack, ed. Authorship in film adaptation. Austin: University of Texas Press, 2008.

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Loock, Kathleen, and Constantine Verevis, eds. Film Remakes, Adaptations and Fan Productions. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137263353.

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Eric, Rentschler, ed. German film & literature: Adaptations and transformations. New York: Methuen, 1986.

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Griffith, James John. Adaptations as imitations: Films from novels. Newark: University of Delaware Press, 1997.

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1942-, Wallace Ian, ed. Feuchtwanger and film. Oxford: Peter Lang, 2008.

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1942-, Wallace Ian, ed. Feuchtwanger and film. Oxford: Peter Lang, 2008.

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Book chapters on the topic "Film adaptations"

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Doughty, Ruth, and Christine Etherington-Wright. "Adaptations." In Understanding Film Theory, 23–44. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-58796-1_2.

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Adler, Thomas P., and Nicolas Tredell. "Film and Television Adaptations." In Tennessee Williams, 115–26. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4_10.

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Bautz, Annika, and Nicolas Tredell. "Film and Television Adaptations." In Jane Austen, 124–33. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-07706-6_8.

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Forshaw, Barry. "Film and TV Adaptations." In Death in a Cold Climate, 182–91. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230363502_16.

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Whelehan, Imelda. "Neo-Victorian Adaptations." In A Companion to Literature, Film, and Adaptation, 272–91. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118312032.ch15.

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Li, Kay. "Chinese Film Adaptations of Shaw’s Plays." In Bernard Shaw’s Bridges to Chinese Culture, 125–39. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-41003-6_7.

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Avery, Simon, and Nicolas Tredell. "Re-representations: Film and Television Adaptations." In Thomas Hardy, 139–45. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-02168-7_8.

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O’Flynn, John. "Literature-to-film adaptations and music." In Music, the Moving Image and Ireland, 1897–2017, 66–84. London: Routledge, 2021. http://dx.doi.org/10.4324/9780203710395-5.

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Cartmell, Deborah. "Becoming Jane in screen adaptations of Austen’s fiction." In The Writer on Film, 151–63. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137317230_10.

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Ponzanesi, Sandra. "The Adaptation Industry: The Cultural Economy of Postcolonial Film Adaptations." In The Postcolonial Cultural Industry, 109–55. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137272591_6.

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Conference papers on the topic "Film adaptations"

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Stanova, Irina. "Resilience in the Face of an Epidemic: W. S. Maugham’s the Painted Veil and Its Film Adaptations." In – The Asian Conference on Media, Communication and Film 2021. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2186-5906.2022.1.

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Charoenbutra, Preeyaporn, and Cecilia Annett Lindqvist. "Girl – Wolf Relationships in Film Adaptations of Little Red Riding Hood." In World Conference on Media and Mass Communication. TIIKM, 2016. http://dx.doi.org/10.17501/medcom.2017.3106.

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Charoenbutra, Preeyaporn, and Cecilia Annett Lindqvist. "Girl – Wolf Relationships in Film Adaptations of Little Red Riding Hood." In World Conference on Media and Mass Communication. The International Institute of Knowledge Management (TIIKM), 2017. http://dx.doi.org/10.17501/medcom.2017.2106.

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Mareshova, Halyna, and Tatiana Savchenko. "Фольклор и мистика в повести Н. В. Гоголя «вий». От авторского текста к современным экранизациям." In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.11.

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This article discusses folklore, mysticism and humor in the novel Viy by N. V. Gogol. The article compares the novel and in the selected film adaptations, it draws attention to the depiction of the main characters, folklore, mysticism and humor.
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Le Quoc, Hieu. "Intersemiotic Translation in Adaptation: The Case Study of the Adaptation of Narrative Poem The Tale of Kiều (Nguyễn Du) to Cải lương Film Kim Vân Kiều (Nguyễn Bạch Tuyết)." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-4.

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We are living in the age of adaptation. In contemporary art, the power of adaptation is evidenced by the fact that a textual semiotic system is continuously passing through the different genres and means to establish new texts. Adaptation is also an intercultural translation as each work adapted experiences a cultural shift so as to adapt to the target culture. Although The Tale of Kieu (Nguyen Du) made use of the plot of Kim Van Kieu, written as the pseudonym Qingxin Cairen (青心才人, Pure Heart Talented Man), in the Vietnamese artistic context, the tale can be considered as the “original text” that provides superabundant materials for other adaptations. The Tale of Kieu is one of the Nom poetries that has been most adapted to other art forms, particularly “cải lương” (reformed theatre). In this study, we analyze the case of video-cải lương Kim Van Kieu (directed by Nguyen Bach Tuyet), to determine modes of semiotic transposition from the narrative (narrative poem) to the performance/showing (video cải lương). This inter-semiotic translation process requires that the author adapts, selects, renounces, transforms as well as encodes/decodes, as semiotics, genre, and materials belonging to the verbal semiotic system to the nonverbal semiotic system, or vice versa. To concretize this, we analyze factors that were involved or omited during the adaptation of The Tale of Kieu to Kim Van Kieu.
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Stanova, Irina. "Decomposing the Stereotypes: East-West Dichotomy in the Film Adaptations of W. S. Maugham’s the Painted Veil." In The Barcelona Conference on Arts, Media & Culture 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2435-9475.2022.18.

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Pham, Thi Kieu Ngan, Matthew Nakamura, and Joseph J. Brown. "Integration of Printed Circuit Board (PCB) Interface to Quartz Crystal Microbalance (QCM) for Gas Adsorption Testbed." In ASME 2023 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2023. http://dx.doi.org/10.1115/imece2023-112176.

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Abstract In the past 20 years, many computational and theoretical works have set a foundation for the effect of thin film electrical properties on gas adsorption, and vice versa. However, there has been limited experimental work to explain this relationship, especially at the high sensitivity scale. In this work, we present packaging and interfacing adaptations that enable surface experiments on a commercially available quartz crystal microbalance (QCM) via mechanical and electrical integration with a printed circuit board. A van der Pauw measurement of resistance change of a metal (60:40 Au:Pd) film under a controlled ethanol vapor environment was conducted. The electrical resistance slightly decreases at a partial pressure of 0.01, then increases with increasing ethanol partial pressures. At room temperature, the Au:Pd film electrical resistivity was measured to be 3 × 10−8 Ω · m.
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Qu, M., Y. Wu, and A. Gouldstone. "Simulations of Curvature Evolution Splat-Substrate Systems under Thermal Cycling." In ITSC2006, edited by B. R. Marple, M. M. Hyland, Y. C. Lau, R. S. Lima, and J. Voyer. ASM International, 2006. http://dx.doi.org/10.31399/asm.cp.itsc2006p1035.

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Abstract The mechanical behavior of single splats on substrates can provide insight into a number of critical coating aspects, including stress evolution, inelastic behavior, and adhesion. Single splat studies provide a theoretically sound base for the understanding of properties, as they are essentially thin film structures on substrates – a geometrically simple arrangement. However, the experimental measurement of splat properties is non-trivial. Previous work has shown that residual stresses and hardness of splats can be measured successfully using X-ray diffraction and nano-indentation, respectively. Here we present the development of a new technique for the determination of in-plane splat properties, including modulus and flow stress, as well as splat-substrate adhesion. This method is based on the widely-used substrate curvature technique, and adaptations of the Stoney formula for electronic thin films. Critical aspects of the continuum-based analysis, including the effects of splat geometry and/or partial debonding, are discussed.
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Roemen, R. "Calculations on the Oil Film Between a Propeller Shaft and the Aft Sterntube Bearing." In ASME 2011 30th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2011. http://dx.doi.org/10.1115/omae2011-50301.

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The propulsion plant of a vessel generally consists of a propeller, a main engine and a shaft transferring the power. The shaft is supported by a set of bearings. One bearing in particular, the one directly forward of the propeller, is of special interest in this study. The correct functioning of this bearing is vital for the propulsion plant to remain operating. As a result of the different operating conditions of the propulsion plant particularly this bearing is subjected to varying loads. It also has to accommodate a certain slope mismatch with respect to the shaft. If a bearing functions correctly or not depends on the presence of an oil film between the bearing and the shaft. Also the thickness of the film and the generated pressures within it are deciding whether the loading is acceptable or not. As such a detailed analysis of the oil film between the shaft and the bearing presents a scientifically supported method to evaluate the acceptability of the loading of the bearing. Another advantage is that the method makes it possible to verify the correct functioning of the bearing in varying loads related to off design conditions. This study presents a general method to calculate the minimum oil thickness within a cylindrical bearing given such external parameters as load, slope mismatch, shaft speed and the oil viscosity. First a part of the bearing theory is presented as well as the relations governing the oil flow through the bearing. The method to solve the set of equations used is the finite difference method. Some adaptations of the formulae to enable the use of the method are presented. Also is explained what assumptions and boundary conditions are applied. In succession to the theoretical part the method is validated with a comparison to a set of experimental data. The practical significance of the use of the method is demonstrated by a practical case. Finally some conclusions are presented.
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Kelly-Zion, Peter, William Collins, and Diana Glawe. "Application of Laser Interferometry for Transient Film Thickness Measurements." In ASME 2004 Heat Transfer/Fluids Engineering Summer Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ht-fed2004-56693.

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A laser interferometry technique for making transient measurements of film thickness of the order of 10 to more than 1000 μm is described. The basis for these measurements was reported previously [1] but the technique was applied to solid glass slides and a slowly thinning silicone oil film. The current work describes an adaptation of the technique for the measurement of rapidly changing film thickness, as occurs with evaporating films. A beam from a helium-neon laser is focused on the film at an oblique angle. Some of the laser light is reflected off of the top surface of the film and some is reflected off of the bottom surface. The light reflected from the two surfaces forms a concentric interference fringe pattern which is projected onto a screen and recorded by a high-speed camera. The film thickness is directly related to the spacing of the fringes. To demonstrate the technique, measurements of the time-varying thickness of three evaporating films are presented and experimental considerations are discussed.
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Reports on the topic "Film adaptations"

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

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

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This study quantifies the impact of process and product innovation on employment growth in Bolivia by using microdata from a survey on innovation conducted in Bolivia in 2016. Following the model of Harrison, Jaumandreu, Mairesse, and Peters (2008) and the adaptations for Latin America of Crespi and Tacsir (2013) and Elejalde, Giuliodori, and Stucchi (2015), we demonstrate that employment growth is explained by product innovation. On the other hand, we find no evidence of a displacement effect due to process innovation. With respect to innovation and work composition, we observe that the reation of qualified employment is slightly favored over that of unqualified employment.
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Johan, Johan, Martina Rotolo, Carl-Johan Sommar, Yiran Li, Catalina Turcu, Bingqin Li, Young-hwan Byun, Jiwei Qian, Marc Flores Soler, and Nick Trebbien. Technological and social adaptation to COVID-19: Food for Vulnerable Urban Groups in Six Global Cities. Linköping University Electronic Press, March 2023. http://dx.doi.org/10.3384/9789180750578.

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This report outlines the results from the research project Food for Urban Life and Localities (FULL) funded by Formas (2020-02864). The research set out to learn how COVID-19 response strategies in six cities (Stockholm, London, Wuhan, Singapore, Sydney, and Seoul) have facilitated access to food for vulnerable groups and how new food supply solutions have emerged through social and technological innovations. This report presents the case of each city in turn and pauses on the role of community-based organisations, ad- hoc community initiatives and municipalities during the COVID-19 pandemic. The report provides a detailed discussion of local or community-level responses in cities that aim to provide access to food through social and/or technological innovations. The lessons learned are important for the Swedish context in the case of similar events that challenge local access to food. The research collected data through qualitative and quantitative methods, and also made use of the breadth of online data sources in response to COVID-19 restrictions on free movement and travelling. The overall finding is that in situations such as the COVID-19 pandemic, local access to food is extremely challenging and cannot be addressed by existing welfare or state arrangements only;civil society organisations and voluntary community organizations (VCOs) step in to fill the gap in public provision; and the stricter the lockdown, the more dependent on civil society response urban areas and communities were.
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Reyes-Tagle, Gerardo, Roger Hosein, Aldo Musacchio, Rodrigo Wagner, Carolina Pan, Fernando Yu, Rebeca Gookool, et al. Smoldering Embers: Do State-Owned Enterprises Threaten Fiscal Stability in the Caribbean? Edited by Gerardo Reyes-Tagle, Aldo Musacchio, Carolina Pan, and Yery Park. Inter-American Development Bank, February 2022. http://dx.doi.org/10.18235/0004001.

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This book examines the role of state-owned enterprises (SOEs) in contributing to the fiscal instability of the Bahamas, Barbados, Guyana, Jamaica, Suriname, and Trinidad and Tobago (CCB6), with the aim of providing tangible guidance for policymakers seeking to address this issue. Using an original dataset of SOE performance in the Caribbean, the contributors focus on the fiscal implications of unchecked growth, poor oversight, and mismanagement of SOEs, with particular focus on commercial SOEs. The authors examine the historical, economic, and socio-political context of SOEs in the CCB6 and stress the need for simultaneous fiscal reform both at the federal and firm levels. The authors analyze the SOE sectors growth and performance to date, revealing entrenched challenges, specifically around incentives and accountability. The recommendations propose adaptations of accepted international best practices and lay out long-term objectives and the more feasible points of entry for fiscal reform.
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Morse, P. D., R. J. H. Parker, W. E. Sladen, S L Smith, and H. B. O'Neill. Remote permafrost terrain mapping, Grays Bay-Yellowknife corridor, Northwest Territories and Nunavut. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/330206.

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The new Grays Bay - Yellowknife corridor will provide transportation, energy, and telecommunications to northcentral Canada, and connect existing highway infrastructure to a deep-sea port on the Arctic Ocean. This infrastructure will improve access for exploration and development, and reduce operating costs in this mineral-rich region of the Northwest Territories and Nunavut, one of the biggest impediments to development in this region. Relatively little information on permafrost and ground ice conditions is available for most of the corridor. To fill this information gap, the Geological Survey of Canada's GEM-GeoNorth program is compiling permafrost and surficial geology information, mapping periglacial terrain features, and modelling ground ice conditions along the corridor. This poster presents the periglacial feature mapping component. Periglacial features are landforms associated with cold environments and typically contain permafrost. Permafrost, and its related ground ice, affect terrain sensitivity to climate change and surface disturbance. With development of this periglacial terrain and accelerated climate warming in the north, communities, planners, and regulators require this information to make informed decisions on how and where to build and manage environmentally sustainable and climate change-resilient infrastructure, and determine best adaptation strategies.
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Indian MSMEs and Firm Productivity: Covid-19 Impact and Government Support. Asian Productivity Organization, September 2023. http://dx.doi.org/10.61145/ucpl7880.

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How did Indian MSMEs survive the COVID-19 pandemic? Did government support measures for digitalization and credit play key roles in their adaptation and evolution? This P-Analysis report focuses on seven key sectors to answer those questions and indicate future pathways for renewal and revival.
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