Journal articles on the topic 'Film adaptations'
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1
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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Pinar, Alex. "German Theatre and Intercultural Cinema: A Study of the Japanese Film Adaptations of Gerhart Hauptmann’s Plays." Pandaemonium Germanicum 27, no. 51 (October 31, 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 film magazines published at the time of screening have been archived. The study draws on these materials and examines the intertextual and intercultural relations between the films and the literary works. It provides a brief overview on the reception of German literature in Japan, compares the plays and films analysing the permutations in narratological elements, and offers insights on how cultural, political, and social context influenced the directors’ adaptation process.
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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 (January 3, 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 considerable number of playwrights, directors and scholars, as the last work of Shakespeare, The Tempest has many uniqueness. This essay will analyze the two films from the perspective of film technology and text, pointing out the differences between the male and female characters in the two films, so as to reflect on the transformations of gender concepts and the trend of female social status.
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Cattrysse, Patrick. "Film (Adaptation) as Translation." Target. International Journal of Translation Studies 4, no. 1 (January 1, 1992): 53–70. http://dx.doi.org/10.1075/target.4.1.05cat.
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Abstract This paper proposes an application of some particular theories, known as the 'polysystem' theories of translation, to the study of film adaptation. A preliminary and experimental analysis of a series of film adaptations made in the American film noir of the 1940s and 1950s shows that this approach provides the basis for a systematic and coherent method with theoretical foundations, and that it permits the study of aspects of film adaptation which have been neglected or ignored so far.
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Russell, Curtis. "Four Hairsprays, one Baltimore: The city in trans-medial adaptation." Studies in Musical Theatre 12, no. 3 (December 1, 2018): 367–75. http://dx.doi.org/10.1386/smt.12.3.367_1.
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By comparing John Waters’ 1988 film Hairspray with its adaptations narratologically, previous studies of the film have treated the process of adaptation as a zero-sum game that diminishes the political stakes with each iteration. With this article, I suggest that generic tools such as mise-en-scène and choreography have the capacity to transform discourses instead of merely supplanting them. To better understand the discursive spaces opened up by the trans-medial adaptation process, I read the opening scene of Waters’ film and its three subsequent adaptations as a discourse of the city, following Annette Insdorf’s assertion that a narrative’s first moments reflect significant thematic and aesthetic moves on the part of its creators.
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Zhou, Manyu. "An Exploration of the Phenomenon of Online Novels, Film and Television Adaptations, and Popular Broadcasts." Communications in Humanities Research 22, no. 1 (December 7, 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 also reflects the dynamic changes of society and culture, and deserves further exploration and study. This paper will delve into the rise and continued popularity of this phenomenon and its significant social, cultural and economic implications. Regarding future trends, the continuous advancement of digital technology will continue to affect the quality and innovation of film and television adaptations. Improvements in special effects, visual effects and sound technology will provide more room for film expression.
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Biernacka-Licznar, Katarzyna. "Soviet children’s film adaptations: Cipollino (1959–64)." Journal of Italian Cinema & Media Studies 11, no. 3 (June 1, 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 saw Rodari’s work transposed onto films and a ballet. Lastly, the article presents an analysis of the Soviet film productions with Cipollino as the protagonist: the animated film Rovno v 3:15 (At 3:15 Sharp) (Dezhkin and Migunov 1959), a feature animation (Chipollino, ) and a filmstrip (Chipollino, ).
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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 (September 10, 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 specificities of screen adaptation per se, animation and animated versions of literary originals, the authors come to the conclusion that it is necessary to develop a detailed comprehensive theory of animatography and its specifics. The authors express some opinions regarding the most promising development directions of the new research paradigm. There are quite a lot of theoretical and practical studies on the adaptation of literature in film and television, yet there has been relatively little research on animated versions of literary sources in general and Journey to the West in particular. The existing discussions and studies have not yet formed a system of academic understanding on these topics. It should be noted, however, that just as there is a trend in the world to increasingly turn to various types of audiovisual adaptations of classical literary works, including animated adaptations, in China, all the successful animated works in the past ten years have been animated adaptations of classical literature, particularly screen adaptations of works related to legends and myths, i. e. of the same category as “Journey to the West”. There is a pressing urgency to deepen research in this area, both for the development of the Chinese animation market, which is in dire need of them, and on the scale of the global film and mass communication media. This topic is further relevant due to the fact that animation is the backbone of the digital cultural industry, which has become the leading field of contemporary culture.
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Strong, Jeremy. "Straight to the Source? Where Adaptations, Artworks, Historical Films, and Novels Connect." Adaptation 12, no. 2 (July 22, 2019): 165–84. http://dx.doi.org/10.1093/adaptation/apz020.
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AbstractResponding to several recent interventions in adaptation studies that have argued for history-as-adaptation, this article develops a sustained examination of how page-to-screen adaptations may be understood as structured and interpreted in ways analogous to the historical film. Considering the relationship between historical screen texts and the historical novel, including the many novel-to-film adaptations of such stories, the article identifies a distinct subset of adaptations in which artworks and literary works are engaged as the ‘source’ for fictional and semi-fictional narratives that ostensibly address the circumstances of their creation. Re-purposing the term ‘origin story’ to characterize these stories, the works of historical novelist Tracy Chevalier are posited as examples of this creative adaptive practice. In addition, this article argues for the trope of ‘bringing-to-life’ and the associated domain of re-enactment as key modes, deeply resonant since the earliest phases of cinema technology, for figuring both the page-to-screen adaptation and historical film. Finally, the 2015 historical biopic and adaptation Trumbo and its relationship to a range of sources are examined in the light of ideas proposed in this article.
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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 their causes, using historical and anthropological contexts. The results of the analysis are contrasted with the reception of the films by Polish critics who attempted to interpret Imamura’s film by emphasizing its animal motifs and often juxtaposed it with the highly theatrical manner of the earlier work by Kinoshita.
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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 (August 1, 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, Khaled Hosseini, Anchee Min, among others who have played an essential role in the field of American literature. This paper uses a qualitative method by analyzing data from selected Book-to movie adaptations. It is evident that some of them received prestigious awards. Tan’s book-to-movie adaptation The Joy Luck Club (1993), Hosseini’s book-to-movie adaptation The Kite Runner (2007) and Kevin Kwan’s Crazy Rich Asians (2018) have entered Hollywood to participate in the extremely competitive film market. The study results show that Asian American writers have emerged recently. Second, Asian American book-to-movie adaptations offer unique narratives to American audiences, although only a handful of Asian American book-to-movie adaptations have been produced. In conclusion, despite the promising growth of Asian American literature, readers can realize that Asian American book-to-movie adaptations have to struggle to be able to tap into the Hollywood industry.
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Felando, Cynthia. "Editor’s Introduction." Short Film Studies 13, no. 1 (March 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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Litovskaya, Maria A. "“Jubilee” film adaptation of the trilogy by A.N. Tolstoy’s “The Road to Calvary”." Philological Sciences. Scientific Essays of Higher Education, no. 2 (March 2021): 69–76. http://dx.doi.org/10.20339/phs.2-21.069.
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The article considers of film re-adaptations of literary texts dedicated to anniversaries that are endowed with a special ideological significance at the state level. It is shown that for film adaptations literarу texts, recognized by the mass audience and based on ambiguous historical circumstances, are chosen. Functionally “jubilee” adaptations support the memory of an event of national importance in society, inform about the position and its changings about this event of the public authorities, allow to capture public sentiment about the event and explicitly or covertly seek to transform the collective memory. It is proved that although the A.N. Tolstoy’s trilogy meets the needs of the mass audience in the ordering of historical events and its optimistic interpretation, the trilogy’s potential ideological ambiguity gives reasons for regularly updating the interpretation of Russian wars and revolutions of 1910th, correlating it with current political requirements. The film (1957–1959), TV movie (1977) and TV series (2017) based on the trilogy are described in terms of their response to the “state order” and simultaneously manifestations of the crisis state of society during the creation of the films. “Thaw” film adaptation focuses on the productive opportunities offered by revolutionary changes to the country and the person, “stagnant” — on the complexity of the revolutionary cultural project, the implementation of which requires personal super-efforts of its participants, “post-Soviet” — on the futility of revolutionary intervention in society and its tragic consequences for each person.
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da Silva Gregório, Paulo. "The stage-within-the-screen: Peter Brook’s film adaptation of King Lear." arcadia 58, no. 2 (November 1, 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 audience across time and location. In establishing strong links between his film and the RSC production, Brook’s counter-cinematic approach to filmic storytelling, alongside his casting of acclaimed stage actors, asserted the authority of theatre as a privileged medium where Shakespeare is made to signify. We shall see that the various marks of site-specific theatrical traditions in the film underscore its appeal to a local – rather than global – audience, thus dismantling essentialist and universalist views of Anglophone adaptations of Shakespeare on screen.
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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 (December 31, 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 thrillers, as well as trans-cultural assimilations. But this very proliferation throws up other questions, as to what can legitimately be called an adaptation of Shakespeare. Not every story of divided love is an adaptation of Romeo and Juliet. Different adaptations and assimilations have enjoyed differing degrees of success, and the essay interrogates those aspects which make the popular cinema audience flock to see Shakespeare in such disguised form, when films which are more faithfully based upon the original plays are so much less appealing to the audience in the Multiplexes.
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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 approach in this paper was used to see the way in which the narrative, thematic and aesthetic elements were created for the needs of the new media. In addition to the analysis of literary segments, we have included the analysis of film, intertextual and contextual elements, which we considered relevant for the interpretation and assessment of the adaptation. Petrović is a director who, although he made famous his country's cinematography in the world, did not receive the opportunity to record this film. Special attention in this paper is dedicated to the scene within the tent of the Vlah Alija and the scene with the wolves, and both of them conform to the Genet's notion of paraleptic continuation, which illustrate Petrović's creative manner in the process of adaptation of the literary work.
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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 (December 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 from historical and cultural Filipino realities to inform the theory. This study is a meta-theoretical discussion that will begin the construction of a Filipino film adaptation theory.
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Pardy, Brett. "Selling Marvel’s Cinematic Superheroes Through Militarization." Stream: Interdisciplinary Journal of Communication 8, no. 2 (December 31, 2016): 23–35. http://dx.doi.org/10.21810/strm.v8i2.200.
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The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2011), and demonstrate the significant reorientation towards the military of the film franchise. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment†discursive formation was it finally successful. I argue that superheroes are malleable icons, known largely by the public by their image and perhaps general character traits rather than their narratives. Militainment is introduced through a discourse of realism provided by Marvel Studios as an indicator that the property is not just for children.
Keywords: militarization, popular film, comic books, adaptation
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Kennedy-Karpat, Colleen. "Adaptation and Nostalgia." Adaptation 13, no. 3 (September 10, 2020): 283–94. http://dx.doi.org/10.1093/adaptation/apaa025.
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Abstract This essay highlights the shared critical terrain of adaptation and nostalgia: how they critically juxtapose the past with the present, and how they underscore the impossibility of return while also relying on prior experience. It also explores nostalgia’s effect on personal responses to adaptations and its interaction with textual form. Drawing from various areas of literary, media, and performance studies, including film adaptations of children’s literature, Watchmen and its screen adaptations, and Disney’s live-action remakes, this essay underscores how both nostalgia and adaptation are inherently multivalent concepts, and how they each rely on perspective to generate critical meaning.
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Gamboa, Elisa F. "Cultural and gender sensitivity in English literary digital film adaptations." International Journal of Multidisciplinary Research and Growth Evaluation 3, no. 6 (December 23, 2022): 433–43. http://dx.doi.org/10.54660/anfo.2022.3.6.17.
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Marczak, Mariola. "Filmowe czytanie Szekspira. Adaptacja jako interpretacja. O książce "Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a", red. O. Katafiasz, Kraków 2017, ss. 434." Studia Filmoznawcze 39 (July 17, 2018): 173–83. http://dx.doi.org/10.19195/0860-116x.39.12.
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FILM READING OF SHAKESPEARE. ADAPTATION AS INTERPRETATIONThe text is a review of a book entitled Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a Mirrors and Echoes. Film Adaptation of William Shakespeare’s Works edited by Olga Katafiasz. The monograph is a compilation of studies and essays prepared by filmologists, theatre studies and culture studies scholars referring to various film adaptations of William Shakespeare’s works. At the beginning the reviewer reminds film theories concerning film adaptation and the output of filmology on the topic of film adaptations of Shakespeare’s works. The author situates the book in view within the map of past and update researches of both types and evaluates their quality as a part of them. She underlines that the variety of points of view and research approaches to Shakespeare himself and to his oeuvre in Olga Katafiasz’s elaboration highlight the distinctive place of Shakespeare in nowadays culture, including pop-culture. Moreover, the variety of scholar and artistic approaches to the master from Stratford reveals also cognitive and creative abilities of film art and makes clear cultural productivity and actuality of Shakespeare. The latter means first of all possible achievement of historical and cultural accommodation to different discourses as well as of being a tool of update cultural communication. Namely in Marczak’s opinion Mirrors and Echoes… provides a practical implementation of the film theory of adaptation as interpretation of the source text and endeavors to be a response to those who ask whether Shakespeare remains a vivid author, delivering important questions and important answers for human beings of 21st century.
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Chen, Hazel Shu. "Acoustically Embodied." Prism 18, no. 1 (March 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 stories-turned-films, Niehai chihun 孽海痴魂 (A Devoted Soul; 1949) and Cimu lei 慈母淚 (A Mother's Tears; 1953), and scrutinizes their transmedial/transnational adaptation trajectories to shed light on intermedia aesthetic criticisms. This article describes how film technology reconstituted the oral and spoken in audiovisual space, in particular the embodiment and representation of the radio acoustic. The voice-over, indicative of the radio unconscious in the film, registers the existence of a consciousness already programmed by radio sounds that reconfigures the economy of filmic diegesis. This article further investigates how such medium self-reflexivity in the form of voice-overs destabilized the Manichean structure of melodrama as an established genre in Cantonese cinema, thus making space for forms of female agency amidst contending ideologies in early Cold War.
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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 selection of landmark works from Balkan cinema comes at a mature moment when the Balkan Survey has almost completed a generation of screenings, now celebrating the best of Balkan cinema through the tribute to film adaptations. However, access to archival films in the Balkans still remains a challenge. The lack of formal cooperation and infrastructure in the region has a detrimental effect on the preservation and distribution of Balkan filmic works beyond national confines. Clearly, an effort on the part of governmental and (hopefully) private institutions will be instrumental in creating a sustainable network and frameworks of cooperation for the sharing and screening of these films.
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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 (April 29, 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). Unlike the first two films, the subsequent ones can rightfully be attributed to postmodernism. Each of the adaptations is described depending on the peculiarities of the development of cinematography. The concepts of author`s cinema, improperly-direct subjectivity, cinematic absurdity are indicated. Consideration of Gogol`s poetics is particularly significant. This poetics is reflected through separate motifs - motifs of travel, madness, detective motifs (rumors), and also images (narrator, evil spirits) and details (clothes, food). It should be noted, however, that all of these are portrayed specifically. Through the game. The specificity of postmodern interpretations (including those that contain selected techniques of postmodernism) is to transfer the emphasis from the content to the form of the work. This is undoubtedly an important takeaway from the article.
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Ardila, J. A. Garrido. "Don Quixote in Film (2005-2015)." Open Cultural Studies 1, no. 1 (October 26, 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 novel or include Don Quixote as a supporting character. The 35 imitations deploy the Quixotic myth, where a Quixotic protagonist is a dreamer in search of an ideal, a loner in a hostile society, or a character deployed to parody a film genre or a social trend. This classification reveals the tendencies in today’s use of Cervantes’s hero on film. Furthermore, the variety and the quantity of Quixote films confirm them as a well-established film genre and are a testament to Don Quixote’s status as an international cultural icon known and loved worldwide.
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Majcher, Agnieszka. "Does the quality of interlingual translation influence the quality of the intersemiotic translation? On the English language film adaptations of S. Lem's The Futurological Congress and Solaris in the light of their translations into English." Journal of Language and Cultural Education 3, no. 3 (September 1, 2015): 144–51. http://dx.doi.org/10.1515/jolace-2015-0028.
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Abstract The aim of this paper is to compare two English language film adaptations (by Steven Soderbergh and Ari Folman) with each other and with the books they are based on. Stanisław Lem’s novels - The Futurological Congress and Solaris - were translated into English and the directors of the films mentioned above were able to work with them. However, while one translation was appreciated by many, including the author of the original, the other one did not get much credit and features many inaccuracies, which will be presented below. The question of how much the quality of translation influences the intersemiotic translation, which adaptation is believed to be, will be examined in the paper. As, according to translation scholars, preliminary interpretation is vital for any translations, it seems justified to state that without being able to refer to the author’s original thoughts the film-makers cannot produce a good adaptation. This will be revised on the basis of comparing examples from the books and films. The analysis will be drawn on an account of translation and film adaptation theories together with the outlining of cultural background for each work.
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Bharat, Meenakshi. "Did We Need Another Emma? The Anxiety of Influence in the Bollywood Adaptation of Emma." Humanities 11, no. 4 (June 28, 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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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 (March 5, 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 audience evaluation is concerned, the film version is more controversial, and such a drastic adaptation has caused a lot of dissatisfaction among the audience. This paper will analyze the differences between the film version and the animated TV version from the two major directions of picture and narrative, compare the strengths and weaknesses of the author's trade-offs in the creation of the film, and discuss in depth the reasons behind the differences between the two. On this basis expand the vision to the general environment of the differences between manga film and television adaptations due to the changes of the times, and put forward relevant suggestions for the future path of manga film and television adaptations, exploring how to achieve a balance between the author's creativity and the audience's satisfaction through the method of improving or restoring the images and narratives.
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Pinar, Alex. "Russian Literature in Japanese Film: Cross-cultural Adaptations in the Silent Era." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 8 (September 20, 2023): 59–76. http://dx.doi.org/10.22201/ffyl.29544076.2023.8.1893.
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Since the beginning of the film industry in Japan, many short films and movies based on Western literary works were made, especially during the 1910s and 1920s. Several of those films were based on fashionable Russian literary works that had been staged in Shingeki (new drama) theaters. This study examines the adaptations of Russian literature produced from the early 1910s until the end of the silent-film era in the 1930s, focusing specifically on films based on Tolstoy’s novel Resurrection, the drama The Living Corpse, and Gorky’s play The Lower Depths. It is shown that the early adaptations, filmed in the 1910s, aimed to closely adhere to the original literary works by maintaining key plot events and recreating the cultural milieu through sets, costumes, and staging. However, starting from the 1920s, adaptations followed intercultural and intertextual processes, freely modifying the works to suit the Japanese cultural context. This shift in the approach to adapting Western literary works was influenced by the social, political, and cultural changes experienced by the country during those decades.
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Cartmell, D. "Now A Major Motion Picture: Film Adaptations of Literature and Drama * Authorship in Film Adaptation." Screen 50, no. 4 (December 1, 2009): 462–65. http://dx.doi.org/10.1093/screen/hjp034.
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Laws, Page. "Not Everybody's Protest Film, Either:Native Sonamong Controversial Film Adaptations." Black Scholar 39, no. 1-2 (March 2009): 27–33. http://dx.doi.org/10.1080/00064246.2009.11413479.
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Anne Galpin, Shelley. "Auteurs and Authenticity: Adapting the Brontës in the Twenty-First Century." Journal of British Cinema and Television 11, no. 1 (January 2014): 86–100. http://dx.doi.org/10.3366/jbctv.2014.0193.
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This article examines two recent adaptations of Brontë novels and how they relate to discussions surrounding the adaptation of literary texts into film. The position of Cary Joji Fukunaga and Andrea Arnold as auteurs is considered, as is the way in which this was used in the marketing of the films prior to release. Fukunaga's Jane Eyre (2011) and Arnold's Wuthering Heights (2011) are evaluated as examples of British film-making in terms of heritage/anti-heritage discourses, concluding that while they both reject aspects of the traditional ‘heritage film’, overtly in Arnold's film but more subtly in Fukunaga's, neither can escape the notion of authenticity which is central to discussions surrounding adaptation of classic literature. Although apparently more ‘faithful’, Fukunaga's film stops short of the adherence to source material that was emphasised in the pre-release publicity, ironically suppressing Fukunaga's auteurist vision, while Arnold's more overtly auteurist vision is shown to present difficulties over the issue of authorship when adapting a ‘literary great’. Finally, the article considers the commercial and critical success of both films, noting that the status of both directors as auteurs is a selling point prior to release, but that when tackling period material it can be something of a hindrance in terms of both the commerciality and the artistic style of the piece.
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Rybina, Polina. "Jane Austen and the Uncanny: The Colonial Past in Patricia Rozema’s Adaptation, Mansfield Park." Acta Universitatis Sapientiae, Film and Media Studies 24, no. 1 (November 1, 2023): 156–69. http://dx.doi.org/10.2478/ausfm-2023-0018.
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Abstract Neither Jane Austen’s writing, nor film adaptations of her novels made in the heritage film tradition seem particularly uncanny. Linked in the viewers’ minds with the representation of the English countryside stability, the films promote traditional values and take the spectators away from the problems and anxieties of the contemporary status quo. However, Patricia Rozema’s Mansfield Park (1999) uses Austen’s plot to question the colonial past by creating uncanny effects. Understood in this paper as an eerie resurfacing of the hidden (following Friedrich Wilhelm Joseph Schelling, Sigmund Freud, John Hodgkins, Barbara Creed), the uncanny becomes a tool for inquiring into how contemporary filmmakers and their audiences revisit old stories. Rozema creates two subplots for the main narrative: a story about an artist’s growth (Fanny Price becomes a writer) and a colonial narrative, which foregrounds the Bertrams’ dependence on their property in Antigua and their use of slave labour. Both plot lines enrich the film with uncanny effects linked to the inherent intermediality of film adaptations. Grotesquely frightening verbal images from Fanny’s writing (extracts from Austen’s Juvenilia) and the uncanny visuality of Tom Bertram’s drawings frame the viewer’s revisitation of Mansfield Park while reminding him/her of a subversive potential – of the uncanny and film adaptations.
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Loiselle, André. "La «Traduction» du Théâtre au Cinéma: Quelques Exemples du Répertoire Canadien." Theatre Research in Canada 24, no. 1 (January 2003): 21–38. http://dx.doi.org/10.3138/tric.24.1.21.
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Generally, film adaptations of drama do not follow the principles o f translation. There are too many differences between the original and the film version for the term “translation” to be applicable. However, there are a few cases where it can be said that a film actually translates a play. This article examines a number of adaptations of Canadian plays, in the light of various translation theories as well as narratological approaches, to draw a conceptual line between adaptation and translation. As is demonstrated, while Lilies, Les muses orphelines and Il était une fois dans l’Est cannot be read as translations of plays by Michel Marc Bouchard and Michel Tremblay, Tectonic Plates and Gapi can productively be studied as translations of original works by Théâtre Repère and Antonine Maillet. In the process, the author hopes to establish the basic charateristics of filmic translation.
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Muresan, Dorel-Aurel. "Book Review. Jane Austen to Screen: Transcoding Sense and Sensibility and Pride and Prejudice." Papers in Arts and Humanities 3, no. 1 (July 27, 2023): 141–45. http://dx.doi.org/10.52885/pah.v3i1.138.
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Reading and Watching Jane Austen: Sense and Sensibility and Pride and Prejudice, written by Iuliana Borbely, examines the transcoding of Jane Austen’s novels into film adaptations, focusing specifically on Sense and Sensibility and Pride and Prejudice. Drawing on adaptation theory and intermediality, the book explores the relationship between the novels and their screen adaptations. Borbely discusses the challenges of adapting well-known literary texts and the concept of fidelity in the context of two different media. The book provides comprehensive analyses of various adaptations, emphasizing themes, narrative devices, character portrayals, and visual techniques. Additionally, it offers a theoretical foundation for adaptation studies and invites further exploration of Austen’s works in different cultural contexts. Overall, this book contributes to the field of adaptation studies and Austen scholarship, serving as a valuable resource for scholars, students, and enthusiasts interested in the adaptation of literary works.
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Saraswati, Rina. "DISTORSI DALAM FILM ADAPTASI “SNOW WHITE” VERSI DISNEY DAN NONDISNEY TERHADAP KARYA GRIMM BERSAUDARA (The Distortion in Disney’s and Non-Disney’s Film Adaptation on the Grimm Brothers’ “Snow White” )." METASASTRA: Jurnal Penelitian Sastra 7, no. 1 (March 11, 2016): 85. http://dx.doi.org/10.26610/metasastra.2014.v7i1.85-96.
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Dongeng karya Grimm bersaudara telah banyak diadaptasi ke dalam media film, salah satunya adalah “Snow White”. Penelitian ini membahas distorsi yang muncul dalam dua film adaptasi “Snow White”, yaitu “Snow White and the Seven Dwarfs” (1937) produksi Disney dan “Snow White and the Huntsman” (2012) produksi Universal Pictures. Dengan metode penelitian kualitatif berupa analisis deskriptif, ditemukan bahwa setiap adaptasi tersebut melakukan perombakan besar terhadap isi cerita yang menyebabkan perbedaan dengan sumber aslinya, yakni karya Grimm bersaudara. Film “Snow White” yang diproduksi oleh Disney mengalami proses adaptasi cerita, yakni dengan mengubah cerita yang pantas dan mudah diterima anak-anak. Adapun film produksi Universal Pictures menghasilkan suatu karya adaptasi yang berbeda, yaitu dengan adanya pengurangan atau penambahan dari cerita aslinya. Perubahan cerita tersebut ditujukan untuk menarik minat penonton. Hasil penelitian menunjukkan bahwa salah satu alasan perubahan yang dilakukan pada dua film adapatasi tersebut disebabkan oleh target penonton yang berbeda.Abstract:Grimm Brothers’ tales have been adapted into films. One of them is the story of Snow White. This study is to examine the distortion appearing in two Snow White film adaptations, namely: “Snow White and the Seven Dwarfs” (1937) by Disney as well as “Snow White and the Hunts- man” (2012) by Universal Pictures. By applying qualitative method, it is found that each film adaptation makes a lot of changes in its plot from its original version in the Grimm Brothers’. “Snow White” produced by Disney was changed into children story that was simpler and easier to understand. The one produced by Universal Picture, on the other hand, was made into different story by reducing or adding its original story. The change of the story is aimed at gaining more viewers. The result of the research reveals that one of changes in the two film adaptations is due to their different viewers target.
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Tam, Kwok-kan. "Cinematography in Motherhood: a Hong Kong film adaptation of Ghosts." Nordlit, no. 34 (February 24, 2015): 393. http://dx.doi.org/10.7557/13.3384.
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<p>This is a study of a Hong Kong Chinese film adaptation of <em>Ghosts</em> made in 1960. It deals with processes of cross-cultural and cross-media adaptation, and probes issues of how stage techniques are turned into cinematographic devices. Ibsen’s plays, except <em>Ghosts</em>, have been adapted numerous times for the Chinese stage and screen in Hong Kong and China. Unlike in China, the reception of Ibsen in Hong Kong is not meant for political purposes. In most Hong Kong adaptations, Ibsen is valued for the purpose of theatrical experimentation. Among the stage adaptations, <em>A Doll’s House</em> and <em>The Master Builder</em> are the most popular. However, there was a film adaptation of <em>Ghosts</em> in 1960, which has never been discussed in Ibsen scholarship. In this adaptation, Director Tso Kea borrowed the plot from <em>Ghosts</em> and made a perfect Chinese melodrama film highlighting the Chinese emotions and relations in a wealthy family that undergoes a crisis. In traditional Chinese drama, there is the lack of psychological rendering in characterization and characters act according to moral considerations. In Tso Kea’s film, the portrayal of the mother provides a new sense of characterization by combining Mrs Alving with the traditional Chinese mother figure. The borrowing from Ibsen makes it possible for the Chinese film to create a character with emotional and psychological complexities. Images from the film are selected as illustration in the article.</p>
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Suganya, A. "An Insight Study of the Film Omkara by Vishal Bhardwaj." Shanlax International Journal of English 12, no. 1 (December 1, 2023): 37–40. http://dx.doi.org/10.34293/english.v12i1.6812.
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Shakespeare’s plays were originally intended for theaters, but some contemporary directors have incorporated them into their works. The focus of the study is on Vishal Bhardwaj’s 2006 film Omkara, which is regarded as one of the best adaptations in Indian cinema history and is an adaptation of the Shakespeare play Othello. This article attempts to comprehend how Bhardwaj adapted Elizabethan-era plays and placed them in a very different context. Through it, the paper seeks to examine the similarities and differences between the films and their original sources of inspiration while highlighting the timeless qualities of Shakespeare’s works that make them culturally and historically relevant.
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Li, Yi. "Melancholic Nostalgia, Identity Crisis, and Adaptation in 1950s Hong Kong: Ba Jin’s Family on Screen." Adaptation 13, no. 3 (May 4, 2020): 313–33. http://dx.doi.org/10.1093/adaptation/apz029.
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Abstract The communist takeover of mainland China in 1949 created physical, cultural, and political segregation between the mainland and Hong Kong, thus fostering a sense of dislocation and alienation among filmmakers who had migrated to Hong Kong from the mainland. The aim of this study is to explore the symbiosis between nostalgia and adaptation in Hong Kong cinema within the cultural landscape of 1950s Hong Kong, when Cold War politics was operating. With a detailed analysis of the 1953 Hong Kong film adaptation of mainland writer Ba Jin’s novel Family, and a comparative reading with the mainland film version produced in 1956, this study illustrates the cultural and historical significance of nostalgia in the development of Hong Kong cinema. This article further argues that nostalgic sentiment was expressed effectively through adaptations, while simultaneously improving these adaptations artistically and strengthening their political alignment with the mainland.
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Kurikka, Kaisa. "In-between Baby Janes: From book to film to book to film." Journal of Scandinavian Cinema 11, no. 1 (March 1, 2021): 75–87. http://dx.doi.org/10.1386/jsca_00039_1.
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This article is concerned with adaptation as a ‘process of in-betweenness’, a movement of connections, in which the ‘original’ work and adaptations are thought of through analogy, i.e. as similarities born from difference. The connections between two American versions of the story of Baby Jane ‐ Henry Farrell’s novel, What Ever Happened to Baby Jane? (1960) and Robert Aldrich’s film of the same title (1962) ‐ and two Finnish versions ‐ a novel by internationally acclaimed author Sofi Oksanen (2005) and a film directed by Katja Gauriloff (2019), both titled Baby Jane ‐ are discussed emphasizing their narratological and thematic analogies. While the American versions focus on the relationship between two ageing sisters, the Finnish versions tell the lesbian love story of two young women living in contemporary Helsinki. In addition, the article comments on some conceptual questions, such as the relationship between appropriation, adaptation, intertextuality and transfictionality.
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Collier-Jarvis, Krista. "‘Danger: Children at Play’: Uncanny Play in Stephen King’s Pet Sematary." Humanities 12, no. 5 (August 29, 2023): 90. http://dx.doi.org/10.3390/h12050090.
Full textAbstract:
Representations of play abound in Stephen King’s 1983 novel Pet Sematary and its 1989 and 2019 subsequent film adaptations. However, play in Pet Sematary is not representative of the innocent actions designed to create functioning adults who meaningfully contribute to society. In the 1989 film, for example, “play” for a newly resurrected Gage is a version of hide-and-go-seek resulting in the death of neighbour Jud. Meanwhile, the 2019 adaptation sees a newly resurrected Ellie “playing” in her dirt-stained white funereal dress. These dirt stains become markers of lost innocence and transform her dance into an uncanny performance. Since Gage and Ellie are both somewhat monstrous child figures, their play, like their bodies, is transformed into something unsettling and ventures into the realm of the uncanny. However, play itself is also performed differently between the adaptations because the central child figure also changes. In the 1989 film, it is a male toddler, and in the 2019 film, it is a pre-pubescent female. Both adaptations focus on ideal, socially acceptable forms of play according to the time in which the film was made as well as how children diverge from these behaviours. Play is often rendered dangerous when not performed properly according to the paradigms of age and gender, resulting in what I call ‘uncanny play’. When children engage with ‘uncanny play’, the adults in the narrative are permitted to execute the children for the sake of preserving the memory of them as innocent beings, or what I call the ‘Save the Child’ discourse. Linda Hutcheon argues that ‘when we adapt […] we actualize or concretize ideas’, so that the socially acceptable play put forth in King’s novel becomes more realised and thus more at risk to transgression in each successive filmic adaptation.