Adaptation (Film Studies)

Ce mémoire propose d’étudier la relation qu’entretient la série télévisée Fargo (FX 2014) avec le film éponyme dont elle est inspirée (Coen 1996). Il naît du constat que les études sur ce nouveau phénomène – les adaptations de films en séries – sont isolées et peu nombreuses. L’objectif de cette recherche est d’interroger les modalités de penser les contacts transfictionnels et les transformations opérées par la circulation de contenus entre les médias en proposant une approche spatiale. L’espace conçu en tant qu’abstraction ou matière permettra de compléter les méthodes d’analyse des séries télévisées présentant le temps comme matière principale soumise à la dilatation et entrera en dialogue avec les nouvelles réflexions concernant la notion d'espace au cinéma. Simultanément, l’espace sera la pierre angulaire méthodologique d’une réflexion qui vise à organiser et visualiser les mécanisme complexes d’un phénomène non linéaire. Sur la piste d’une sensation de familier, le mémoire porte une attention particulière aux notions d’itération, de variation et de continuité, centrales dans les études télévisuelles.

This thesis analyzes the relationship between the TV show Fargo (FX, 2014—) and the eponymous film that inspired the series (Coen, 1996), and is a starting point to answering to the lack of studies on this phenomenon – the adaptation of films into TV series. The goal of this research is to examine the modalities of thinking transfictional connections and transformations that emerge from the circulation of contents across distinct media, from a spatial approach. The notion of space conceived as an abstraction or as a material component of the series will add to the existing methods of analysis of TV series. In fact, current methods generally consider time as the main element involved in seriality: this thesis suggest another way to study TV series, dialoguing with the recent reflections based on the notion of space in cinema. Simultaneously, space will act as the methodological cornerstone of an analysis that intends to organize and make the complex mechanisms of a non-linear phenomenon visible. Following a sensation of familiarity experienced during the viewing of the show, this thesis pays particular attention to the ideas of iteration, variation, and continuity, which are essential to Television Studies.

The Lisbon sisters, Camille, and the "Arminuta" are the daughters and the protagonists of three novels set in three different geographical-linguistic areas: the United States, France, and Italy. "The Virgin Suicides" (1993) by Jeffrey Eugenides, "Hunting and Gathering" ("Ensemble, c’est tout", 2004) by Anna Gavalda, and "A Girl Returned" ("L’Arminuta", 2017) by Donatella Di Pietrantonio are the selected novels covering the 20th century and the first two decades of the 21st century. The theoretical background of the mother-daughter relationship provides an introduction to the textual analysis of the novels, which unveils the condition of outsiders of the protagonists. Their characterization develops within their social marginality: imprisonment (the Lisbon sisters), "emotional autarky" (Camille), and abandonment (the "Arminuta"); while their marginal status is the product of their particular relationship with the controversial personality of their mothers. Mrs. Lisbon is a control-obsessed, authoritarian mother; Catherine is a narcissistic woman; while both the biological and the adoptive mothers of the "Arminuta" abandon her. The outsider theme, particularly its literary-philosophical theorization by Colin Wilson, is the key point of our analytical method. In our literary selection, each storyline identifies one of the three existential steps of the outsider, originally conceived as a male figure. By analyzing the fictional development of the Lisbon sisters, Camille, and the "Arminuta", we retrace backwards the existential journey of the outsider as theorized by Wilson: the mystic detachment from reality as the final stage of a route which started with the pursuit of Truth, and went through the process of accepting personal alienation. Retracing the outsider's experience allows us to show that being an outsider in literary terms is not a male prerogative: it is a condition of marginality embodied by female characters as well. In addition to this, precisely as outsiders the protagonists can express their agency.

How might television aesthetics characterise the 'medium' or 'art form' or television? From a perspective inspired by analytic philosophical aesthetics, this paper disputes the commonplace practice of referring to television as a ‘medium’. It proposes instead that television be regarded as an art composed of many media. Individual works employ various media available to television and also to other arts.
The paper evaluates the usefulness of these distinctions for our conceptual understanding of television, appraisal of television works, and appreciation of television in relation to other arts. Via its reconfiguration of ‘medium/media’, it challenges narrowly contemporary notions of the televisual, positing a more historicised model and situating television alongside other arts – amongst friends.

Life of Pi. With reference to recent developments in adaptation studies – and, in particular, to critical movements away from treating ‘source material’ for adaptations as ‘original’ and adaptations themselves as derivative and inferior, and towards understanding the relationship between adapted texts and adaptations as intertextual – it argues that Lee’s film playfully subverts notions of ‘originality’ by casting the novel on which it is based as the adaptation rather than as the adapted text. Moreover, it argues that Lee’s film is one of a number of recent, prominent screen adaptations of ‘well-loved novels’ to take such an approach, and that such works encourage us to consider the relationship between adapted texts and adaptations as intertextual.

With many books being transformed into movies, film adaptation theorists try to explain the process of adaptation while attempting to observe how adaptations can be faithful to their source text. This research analysis goes through adaptation studies and fidelity theories seeking to analyze and discuss how fidelity is impracticable as intertextuality, like adaptation, seeks to reinvent the familiar into a new work of art. I chose two different versions of The Great Gatsby to be analyzed and compared examining how the director’s chose to depict the novel’s main themes. Furthermore,
I compared these two versions to show their dissimilarities in terms of Form, Context and Style. Whereas Form explores cinematographic features of the cinema like the mise-en-scene, sound, camera work, editing and narration, Style examines the director’s personal mode of expression in film and how his/her style influence the final version and the narrative content too. The shift from literature to film demands that all aspects of the filmed novel are analyzed in order to examine how the director and screenwriter transform a literary work into film. All results were presented highlighting the directors’ respective approaches and how they fail or succeed in capturing the following themes: the American Dream, Social Stratification and Morality and Spirituality. In an attempt to see if the two versions are faithful to the novel, the concept of intertextuality was reviewed and finally combined with the study of adaptation, bringing to light the aesthetic limitations of fidelity studies.
Keywords: adaptation, intertextuality, fidelity, the great gatsby, film, literature

The art film Naked Lunch (1991) may have marked a turn away from the horror genre for David Cronenberg, but it also features both monsters and monstrosity. Protagonist Bill Lee wanders passively through a surreal landscape populated with fantastical creatures feeding him orders that correspond to the impulses he does not recognize within himself. By Cronenberg’s own description, these monsters are projections, excusing and externalizing Lee’s internal, unacknowledged anxieties. Since these monsters are embodied outside himself, Lee never has to confront his
internal conflicts as such. Engaging with writings on horror and monsters by Julia Kristeva, Noël Carroll, and Jeffrey Jerome Cohen, this essay uses Naked Lunch to develop a Cronenbergian theory of monstrosity. Monsters objectify the abject, but in doing so evade the sources of abjection. Cronenberg, a filmmaker constantly exploring abjection and monstrosity, for the first time in his filmography articulates this problematic relationship between them explicitly in Naked Lunch.

Chapter 7, "Disowning Shakespeare and China," delineates the theoretical and political consequences of disowning “Shakespeare” and “China” in the present time. Part of the question of consequence necessarily remains open-ended, as international circumstances continue to change. However, a number of new trends in performance since 1990 have gained momentum. Stan Lai’s Lear and the Thirty-seven-fold Practice of a Bodhisattva (Pusa zhi sanshiqizhong xiuxing zhi Li’er wang) and Wu Hsing-kuo’s Lear Is Here (Li’er zai ci) exemplify performances that are framed by the artists’ autobiography and religious discourse. They signal the arrival of a new Asian identity in the global marketplace of cultures. The grand narrative of East meets West now coexists with an account of the living, contemporary directors’ personal engagement with Shakespeare, and with new but equally elusive categories such as “I” and “Shakespeare.”

This article traces depictions of the character Njai Dasima, created by G. Francis for his novel Tjerita Njai Dasima ('The Story of Njai Dasima', 1896), through Indonesian cinematic history. It examines four feature film portrayals of her—Njai Dasima (1929/1930), Njai Dasima (1932), Dasima (1940), and Samiun dan Dasima ('Samiun and Dasima', 1971)—, all of which were influenced by phenomena in contemporary society. The first two adaptations, produced during the height of the colonial period, depicted Dasima as a happy colonial subject who suffers after being waylaid by magic and deceit. In the 1940 "modern" version of the story, meanwhile, Dasima was transformed from the njai of a European into the assertive wife of an educated indigenous man, minimising the colonial context while simultaneously commenting on the importance of maintaining Eastern values. In the 1971 adaptation, produced following the fall of the Dutch colonial government and the dominance of Indonesian nationalism, the character again became a metonym for the colonial subject, but in this instance suffered because of her ties to colonialism.

Shakespeare’s plays have been adapted for the cinema since 1899 in multiple film genres, including silent film, film noire, Western, theatrical film, and Hollywood films.
    This course examines Shakespeare’s  romance play, histories, tragedies, and comedies, including the lesser-known plays, and their adaptations on screen, with a focus on the themes of race, gender, sexuality, and colonialism.

PLAYS & FILMS

• Love’s Labour’s Lost (comedy; Branagh)
• King John (history; Dickson & Dando, 1899)
• Henry V (history; Olivier; Branagh)
• A Midsummer Night’s Dream (comedy;
Hoffman; Reinhaardt; Taymor)
• Titus Andronicus (tragedy; Taymor)
• Othello (tragedy; Oliver Parker; Pier Paolo
Pasolini)
• Richard III (history; Richard Loncraine)
• Winter’s Tale (romance; Howell; Rohmer)

Resumo

Este artigo propõe uma reflexão sobre A Dança dos Paroxismos (1929), de Jorge Brum do Canto (1910-1994), motivada por diversas pistas de interpretação lançadas nos intertítulos iniciais, designadamente a apresentação da obra como um “ensaio visual” e como um “filme português”, e a dedicatória ao cineasta Marcel L’Herbier. Perspetivando o filme em função de alguns pressupostos do cinema da Primeira Vanguarda Francesa, na qual se inscreve L’Herbier, identifica-se e caracteriza-se um programa estético que, no filme de Brum do Canto, se materializa numa questão que, sendo primariamente diegética, transporta também implicações teóricas determinantes: todo o filme corresponde à alucinação de um moribundo. Através de uma análise aproximada de A Dança dos Paroxismos, investiga-se, por fim, de que modo este filme — um dos primeiros casos de “cinema onírico” — pode constituir um complexo “ensaio visual” sobre o cinema da Primeira Vanguarda Francesa.

The study of the normative and descriptive norms of adaptation replaces the usually normative and source text oriented analysis adaptation with an intersystemic target (con)text oriented study of the process of adaptation. Instead of focussing again on an evaluation of the accuracy of the film with respect to the adapted source text, a study of descriptive as well as normative adaptational norms makes it possible to consider values propagated within a specific time-space context and study their empirical relevance in actual adaptational behavior.

Post-Soviet era directors have been searching for the new aesthetic footholds in the images of Gogol’s works. Starting from pure satire denouncing the pre-revolutionary system, they have moved on to the absurdist grotesque. This was significantly influenced by the discoveries of Gogol scholars in the 1990s–2000s and the actualization of the interpretations of Gogol’s works created at the turn of the 19th–20th centuries, which were inconceivable for Soviet literary criticism Screen adaptations have been affected both directly—by theatrical productions of Gogol’s oeuvre, and indirectly—by a long tradition of stage appeals and directors’ decisions on his stories. The transfer of Gogol’s dramaturgy into the 21st century gave film directors and screenwriters the opportunity to maximize the relevance and social sensitivity of the plots. In the 21st century, the theme of an inspection as an image of the Last Judgment has been transformed into a semblance of a police detective. Most of the characters are related to the police or special services, to investigations, to real retribution. While for Gogol the idea of judgement lies in the moral plane, in post-Soviet interpretations it is usually associated with earthly requital, and an extremely explicit one, tailored to a crime TV series audience. Against such a background, Grigory Konstantinopolsky’s film adaptation of Dead Souls summarizes a decade of Gogol film interpretations. The story of Chichikov blatantly accumulates and travesties the previous tradition of presenting Gogol’s detective plots. The film actualizes the issue of a positive hero, the problem of memory transformation, and cinema’s responsibility to the society in the period of
losing its literature-centeredness. The transformation of the spiritual and intimate life of Gogol’s contemporaries, which was the most important theme for the writer, was also updated in a number of motifs: the lack of foundations for understanding between loving people (Marriage, 2009), the displacement of traditional gender roles (Happy Ending, 2010), the privatization of national memory, and summing up the unformed aesthetics of the new Russian cinema by the “lost generation” of the ‘90s (Dead Souls, 2020).
Режиссеры постсоветской эпохи искали новые эстетические опоры в образности Гоголя, переходя от чистой сатиры с обличением дореволюционной системы к абсурдистскому гротеску. Значительное влияние на это оказали гоголеведческие открытия 1990-х–2000-х гг. и актуализация трактовок творчества Гоголя рубежа ХIХ–ХХ вв., неприемлемых в советском литературоведении. Экранизации испытали как непосредственное влияние театральных постановок («Ревизор» Сергея Газарова), так и опосредованное — сложившейся к этому времени традиции сценических решений гоголевских сюжетов. Перенесение драматургии Гоголя на экран в ХХI в. дало режиссерам и сценаристам возможность максимальной актуализации и социальной заостренности сюжетов. Тема ревизии как образа Страшного суда в ХХI в. трансформировалась в подобие полицейского детектива. Большинство героев экранизаций в результате сценарной реинтерпретации оказывалось связано с полицией / спецслужбами, следствием, расследованием, с реальным возмездием. В постсоветских трактовках идея суда, лежащая для Гоголя в моральной плоскости, связывается с проблемой земного возмездия и возмездия предельно конкретного, рассчитанного на зрителя криминальных сериалов. На этом фоне итоговая для десятилетия кинопрочтений экранизация «Мертвых душ» Г. Константинопольского откровенно аккумулирует и травестирует предшествующую традицию представления гоголевских детективных сюжетов. Фильм актуализирует вопрос о положительном герое, проблеме трансформации памяти, ответственности кино перед обществом в период утраты литературоцентризма. Важнейшая для Гоголя тема неполноценности духовной жизни современника, его тотального одиночества также оказалась актуализирована в целом ряде мотивов, таких как: отсутствие основ для взаимопонимания любящих людей («Женитьба», 2009), смещение традиционных гендерных ролей («Счастливый конец», 2010), приватизация национальной памяти и подведение итогов неоформившейся эстетики нового русского кино «потерянным поколением» 1990-х («Мертвые души», 2020).

Telling the story of the American frontier and the rise of a nation, the Western has usually been associated with what is called ‘Americanness.’ Of the richest genre of Hollywood both in number of the films produced, and the timespan survived through, Westerns have been produced in and outside of the U.S. with different, yet not so different, stories. The dynamism of the genre is shaped by cultural, political, and economic contexts in which its examples circulate. To understand the generic evolution within a culture, as well as cross-cultural inflections on genre, and the ways objects operate in different temporo-spatialities, I will analyze cross-cultural adaptations of Akira Kurosawa’s samurai films.
The effect of multiple cross-cultural encounters on the use of objects and the spaces in which they operate in the formation of Western genre conventions will be discussed through Sergio Leone’s spaghetti western A Fistful of Dollars (1964) and Antoine Fuqua’s post-western The Magnificent Seven (2016). With Leone’s spaghetti western, even though the obvious cross-cultural encounter will be the one with Asia and Europe, the other interaction is the one which is among the genres; in other words, how something that is associated with Americanness founds a voice in another space (Italy) and the ways in which the same genre makes and remakes itself in different spaces while sharing the same temporality. While looking at Antoine Fuqua’s 2006 Magnificent Seven, on the other hand, even though the product situates itself to the same space (U.S./Hollywood), I will look at cross-cultural encounters in terms of time and how genre changes itself within the same culture/space. While I use Rick Altman’s “semantic/syntactic” approach as the overarching theoretical discussion of this paper to understand the materiality of the narrative and the evolution of the genre, I will also refer to theories of remaking and the ways in which space is used and misused within given structures, by analyzing selected films. These case studies will enable me to analyze the relationship between remake and genre, and remake as genre.

This article provides a stylistic examination of Sidney Lumet's thriller Deathtrap (1982), analyzing how its strategies of staging and performance generate narrational effects of suspense and surprise. It argues that Lumet anchors these performative strategies to a broad authorial program grounded in expressive subtlety; as such, Lumet's film reminds us of a waning tradition of US filmmaking in which stylistic ingenuity resides at the denotative and expressive (rather than the decorative or parametric) levels of stylistic discourse. The article treats Lumet's stylistic choices as creative solutions to a distinctive set of aesthetic problems. It canvasses-and identifies the functions of-the motivic staging schemas patterned throughout Deathtrap; and it illuminates how these schemas, actuated by star players, shape the viewer's cognitive uptake in substantive ways.

Originally conceived as an adaptation of the works of Jules Verne by Hayao Miyazaki and eventually developed by Hideaki Anno and the studio Gainax, Nadia: The Secret of Blue Water (1990 - 1991) acts as one of the clearest examples of the fascinating interdependencies that are evident between the Japanese entertainment industries and the movement that has become known as steampunk. Variously defined as ‘neo-victorientalism’ and ‘steampanku’ by those with an interest in its representations of industrial nostalgia, Japanese steampunk has served as a rich resource for representations of Japan’s past, present and future to be filtered through the iconography of fantastical steam-powered and piston-driven machinery. This article offers a close analysis of the series and considers the ways that its reworking of archetypal representations of nineteenth-century science fiction offers opportunities to evaluate the enormously complex and contradictory facets of nostalgic reminiscence. By considering the ways that the series fetishizes referents to this past age of technological development, I evaluate the means through which a legacy of bygone scientific romance and imperial adventure continues to reflect the fin-de-siècle concerns of a latter century and Japan’s own orientation in a globalised and post-colonial world.

Part of a larger, forthcoming project on screen adaptations of novels that have won or been short-listed for the Booker Prize for Fiction, this paper focuses in particular on director Ang Lee’s 2012 adaptation of Yann Martel’s 2002 Booker-winner Life of Pi. With reference to recent developments in adaptation studies – and, in particular, to critical movements away from treating 'source material' for adaptations as ‘original’ and adaptations themselves as derivative and inferior, and towards understanding the relationship between adapted texts and adaptations as intertextual – it argues that Lee’s film playfully subverts notions of “originality” by casting the novel on which it is based as the adaptation rather than as the adapted text. Moreover, it argues that Lee’s film is one of a number of recent, prominent screen adaptations of 'well-loved novels' to take such an approach, and that such works encourage us to consider the relationship between adapted texts and adaptations as intertextual.

This research aims to analyze narrative patterns and cross-media adaptation of William Shakespeare’s Macbeth in theaters, television dramas, animations, and films totaled 12 media by means of textual analysis, documentary research, and interview.

Storytelling is the process of sharing ideas and teachings across cultures. Common themes can be spread through cultural traditions as showing (theatre, film, television) and telling (novels, books, radio). These stories and lessons have been repeated again and again, yet at present, they have found a place in our culture. This adjustment becomes possible only because of the process of adaptation. Adaptation is not new;

On behalf of the Department of English Language and Literature we kindly invite you to participate in the international conference on Adaptation Studies. This international conference examines the theory, criticism, and pedagogy of adaptation. We welcome 20-minute paper proposals addressing theories and methodologies for studying adaptation studies today, proposals critiquing and analyzing specific adaptations, and proposals on the pedagogy of adaptation. Since this is an international conference, we especially welcome proposals treating cross-cultural and intercultural adaptation. For day 3, we especially welcome presentations of student work and joint faculty-student work.

Książka jest próbą opisania pewnej formacji pokoleniowej i społeczno-politycznej, która była już uprzednio opisywana, ale w nieco innej konfiguracji: w zestawieniu, powiedzmy: Bursa, Hłasko, Polański, Komeda, Głowacki nacisk padał raczej na kontestację i poetykę skandalu, a następnie – na światowy sukces kontestatorów.

Jeśli do Bursy doczepimy ciąg nazwisk złożony z Czycza, Latałły, Titkowa i Barańskiego, okaże się, iż kontestacja może mieć charakter znacznie bardziej kameralny i osobisty, a zamiast międzynarodowego sukcesu pojawi się „prowincjonalność” i wycofanie z wielkiego świata jako świadomie wybrany los. Inna też będzie – i to zdecydowanie – poetyka dzieł tworzonych przez tego rodzaju artystów. Stylistyczną drastyczność i prowokacje zastąpi w nich pierwiastek liryczny i sentymentalny – tak świetnie widoczny w filmie Nad rzeką której nie ma Barańskiego. Jednocześnie postawa wycofania nie wyklucza bynajmniej bezkompromisowej oceny politycznego systemu, który panował w Polsce.

Prof. Jerzy Jarzębski

Traditionally hailed as a masterpiece of the New Spanish Cinema of the 1960s, Miguel Picazo’s La tía Tula (1964) has been customarily read as a politically oppositional take on the Francoist gender ideology that favored female sexual repression. If Unamuno’s novel from 1921 focused on a protagonist who resolutely denied biological maternity in order to paradoxically found a kind of spiritual matriarchy, Picazo’s film radically undermined Tula’s complex cult of “virginal motherhood”, which was subservient to an overpowering yearning for immortality and spiritual perpetuation that underlay Unamuno’s entire narrative and thought. The movie’s confessed attempt to construct an emblematic figure of provincial Catholic womanhood that was both repressed and repressive is set within an allegedly representative small town of postwar Spain, which significantly departs from Unamuno’s rather abstract socio-historical setting while it recycles the overused nineteenth-century (regenerationist) critique of the Spanish province.
By interrogating the historical-ideological rationale behind this reductionist adaptation of Unamuno’s novel and by critically repositioning the beleaguered image of the female protagonist, this essay seeks to overcome the all-explanatory cliché of sexual repression in the attempt to propose a feminist reading of Picazo’s main character. Furthermore, this suggested hermeneutic shift could enable an understanding of why contemporary American college students seem to consistently see the 1964 Tula as an admirably empowering female figure within the rigid constraints that Franco’s regime imposed to women. Focusing on a close analysis of two decisive cinematic scenes of the movie, this essay tries to explain why and how such a contemporary feminist reading of the film could felicitously go beyond the limitative traditional interpretation that capitalized on the movie director’s avowed politicized intentions of adapting Unamuno’s La tía Tula in the Spain of the 1960s.

Laurence Sterne's Tristram Shandy (1759-67) appears to resist adaptation. Its verbal density, narrative complexity, and self-conscious bookishness mark it out as intensely medium-specific. However, its richly allusive style, scepticism about conventions of representation , and involvement of readers may make it a model for contemporary approaches to adaptation. This essay analyses two re-mediations: Martin Rowson's 1996 graphic novel and Michael Winterbottom's 2005 movie. It argues that these artists use Sterne to fashion virtuosic originality within a culture of mimicry and pastiche. To this end, they produce self-conscious adaptations that reveal and reflect on their own creative processes. The essay proposes that moving beyond axiological and teleological views of adaptation will be facilitated by recognizing literary classics as themselves acts of appropriation which in turn solicit acts of adaptation.

This thesis is based on an empirical study of the BBC’s Muddle Earth multiplayer online game. It is a study of game production in the context of cross-media strategies, and follows the adaptation journey of the Muddle Earth IP from a book, into a TV series, and finally into a game.

At a time when cross-media strategies have become an established part of the children’s media landscape, staying ‘on brand’ across different media is an essential factor to maximise audience benefits. In order to provide seamless cross-media experiences, game adaptations are required to live up to the expectations set up by their source materials – brand consistency becomes an essential target for production.

Brand consistency, however, is a fluid concept with floating meanings, often only defined in operation when producers provide feedback in processes of revision leading to the approval of new content. Furthermore, it can be found at different levels, from surface form (visual elements, game assets), to deeper content (tone, style and effect). The research investigates both, and makes use of narrative concepts and models to assess brand consistency at the more complex level of content.

Game adaptations are also required to meet the expectations of game players. Adapting into a new medium includes some level of remediation, but also entails the use of new devices and conventions, which offer different kinds of pleasures. This study looks at the ways in which these were translated, continued and modified in Muddle Earth.

The research looks at the text and its production, drawing on empirical data from game-playing, interviews with producers and the analysis of design and production documents. The theoretical framework is derived from game studies, adaptation studies, intertextuality and narrative theory, and political economy.

Angela Carter is best known for her novels, short fiction and journalism, but she also produced a substantial body of writing for media other than the printed page, including five radio plays, two film adaptations, an original television documentary and a number of unrealized scripts for stage and screen. Despite increasing academic interest in Carter's work, these dramatic writings have largely been ignored. In this book, Charlotte Crofts redresses this lack of critical attention by examining Carter's dramatic writings together for the first time (including two unpublished works), giving them a more central position in the Carter canon

You can read an excerpt of the book here:http://books.google.com/books?id=RsMnIC72qC0C&printsec=frontcover&dq=anagrams&ie=ISO-8859-1&cd=9&source=gbs_gdata#v=onepage&q&f=false

Cited in Jack Zipes (2010), The Enchanted Screen, The Unknown History of Fairy-Tale Films; Susanne Gruss (2009), The pleasure of the feminist text, reading Michèle Roberts and Angela Carter and Laura Di Michele (2005) Shakespeare, una "Tempesta" dopo l'altra

English 2270 explores the relationship between film and literature and the processes of adaptation. This semester we will examine film adaptations of plays, novels, short stories, children's books, comic books, and graphic novels. This is a challenging and rewarding course that introduces you to adaptation studies and also tests your writing skills and your ability to present ideas in a large group setting.

En 'Historias de luz y papel', pretendo demostrar que el cine español entre 1921 y 1930 tuvo en la adaptación de obras narrativas españolas una de sus principales estrategias constitutivas. Esto es así no solo por haber dado lugar a un alto porcentaje de la producción de la década, sino también por contribuir de manera decisiva a formar señas de identidad fundamentales de ese periodo cinematográfico.

In 'Stories of Light and Paper', I wish to show that one of the main component strategies in Spanish Cinema beteween 1921 and 1930 was the adaptations of Spaish narrative works, not only for giving rise to a high percentage of the decade's `production, but oalso for decisevely contributing to the formation of vital signs of identity within cinematographic period.

In both literature and film, we’re faced with complex characters, complex plots, complex themes, complexity in narration and, occasionally, complexity in narrative structure, all of which have been long present in fictional works and all of which have been addressed extensively by scholars (we’ve witnessed a resurgence of these terms in academic circles in recent years following the rise of the puzzle film in the 1990s).
But what can be inferred when we consider narrative complexity in terms of adaptation?
For this study, I consider complexity in relation to nonlinear storytelling and apply stylistic methods of analysis to the blockbuster film Arrival (2016) and its source text - Ted Chiang’s short story, Story of Your Life (1998). The aim of this paper is to examine narrative complexity in adaptation and address questions surrounding what is adapted in such cases, how it is adapted, and the effects both versions of such a text can produce.
The argument that I advance is based on the premise that by breaking down the text (moving image and printed text) into its narrative components, we can develop a better understanding of how complex narratives such as this operate across platforms. My analysis focuses on the nonlinear narration, narrative focalisation and the presentation of coinciding narrative frames that are present in the source text and its film adaptation.