The a rticle b e gins by h is toricizing fi lm ada ptation fr om the a rri val of c inema, poin ting out the many the ore tica l app roac hes un der w hich the p roces s has bee n se e n: fro m th e conce p t of “ th e s am e s tor y t old in a di ffere nt m e di um ” to a c om prehe ns ible definition s uch as “ the proce s s throu gh w hich w orks c a n be trans form e d, form ing a n i nters e c tion of textua l s ur fac e s, quotation s, conflati ons a nd in v e rsions of other texts ”. T o il lu s tr ate th is new conce pt, the a rt icle di s cuss es S p ik e J onz e ’s fil m. The House Of Spirits Isabel Allende Pdf. ., ac cordi ng t o J ames N are m ore’s pr oposa l w hi ch c onsiders the s tu dy of adaptation as part of a ge nera l th e ory of repetition, joined w ith the s tu d y of rec ycling, re m a ki ng, a nd e v e ry form of rete llin g. The film dea ls w ith the atte m pt by the s crip tw ri te r Ch arle s K aufm an, c as t by N icholas Cage, to ada pt/ trans late a non- fictiona l book to t he c inema, but ends up w ith a ki nd of film w hich is by n o m e a ns w hat it intended to be: a film of a c tion in th e m odel of H olly w ood p rodu c tions. D ur ing th e pr oc e s s of c re ation, Charles and his twin brother, Donald, undergo a series of adventures inv olv ing so m e re a l pers ons from the w orld of film, the a uth or a nd the pr otago nist of the bo ok, a ll of t hem tu rni ng in to fictional cha rac te rs in the film. In th e film, a daptation then s ignif ie s s om e thin g d iffere nt fr om its traditional m e a ning. K e yw ords: Film a daptation; pos tm odernis m.

Phillips, Nathan C., 'Beyond Fidelity: Teaching Film Adaptations in Secondary Schools' (2007). All Theses and. I rely, particularly, on Mikhael Bakhtin's dialogism as a theoretical frame for. Proposes an answer in the words of film critic Louis Giannetti that echoes Leitch: “The overwhelming bulk.

Film adaptation: state of the art Film adaptation: state of the art Film adaptation: state of the art Film adaptation: state of the art Film adaptation: state of the art S in c e th e arr iv al of cin e m a, it w as s e e n t hat th e new art w as able to narrate, w ith its ow n r e s our c e s, a s tory pr e v iou s ly told in nov e ls or s hor t s tor ies. Th e n, the p rac tice of tr ans for m in g li te rary narr a ti v e in to fil m narrativ e s p rea d to the poi nt th a t m a ny fil m s tod a y h a v e a s their ori gin not t heir ow n s c ri p ts, c rea te d e s p e c iall y f or t he c in e m a, bu t a literary work. This may not be necessarily a short story or a novel: a poem or an es s a y m a y be the s tarting poi nt for fil m s, d oc um e ntaries be in g a v ariation of th is op tion. H ow e v e r, s in c e m os t adaptation s c om e from a narrativ e, that w hi c h is nor m a lly u nd e rs tood as a d a p ta tion i s there fore the c in e m a ve rs ion of a w ork of fi c tion. Thi s is w hy, w hen d is c uss in g a d a p ta tion, w e thi nk p ri m a ri ly of a lit e rary s our c e. Th e p ro c e s s of ad apt ation has bee n se e n as u n id ir e c ti on al – goi ng a lw a ys from lite rary te xt to film – w ith p riori ty for th e form e r at the e xp e nse of t he latte r. Con s e qu e nt ly, th e s tu d y of ad aptation te nd e d to concentrate on the comparison between two types of text and the measure of success attained transferring from one to the other.

In s u m m ary, th e c once rn of crit ics has be e n t o v e ri fy th e faith fu ln e s s of the film c om p a red to the w ork of fiction, tha t is, if th e fil m m a nage s to c apt u r e all t h e e lem e n ts of t he narr ativ e: p lo t, c har ac ters, e tc. Th e fi rst s e ri ou s th e oretica l w ork on ad aptation a p p e are d in 19 5 7. George Bluestone defended the possibility of the metamorphosis of nov e ls into oth e r m e ans, e ac h w ith th e ir narr ativ e res ou rce s. S tu d ies s u c h as th os e of G e offr e y Wagne r (1 97 5) and D u d ley A nd rew (1 98 4) followed, both adopting the criterion of faithfulness. The former c las s if ied ad aptation s ac c ord in g to h ow c lose th e y w e re to the lit e rary text, c on s id e r in g th os e w hi c h w e re c lose s t as. R e s p e ctiv e ly.

A s a w ho le, a ll th e pr oce s s w as s e e n as a trans lation – a n in te rse m ioti c trans lation – in s o far as it w as m e ant to trans m it a m e s s a ge / s tory / id e a, c onc e iv e d in a given s yste m – li te ratu re – in te rm s of anoth e r sign s y s te m – the c in e m a. Th e ana ly s is of adaptation concentrated on seeking equivalencies, that is, in the s u c c e s s of th e fi lm m ake r fi nd in g fil m ic m e ans to s u bs tit u te th e li te rary. There fore, they be ga n t o look for f ilm ic re s our c e s w hi c h h a d fu nctions paralle l to th os e of the lite rary w ork. H ow e v e r, thi s held i ts pr iv ilege d position, the touchstone to evaluate the film. They always sought to find “ W hat N ove ls Ca n d o that F ilm s Ca n’t and v ic e -ve rs a ”. Va ri ous a pp roa c he s foll ow e d, a ll of th e m c om p a ri ng both te xts a nd c ons id e ri ng the fa ith fu ln e s s of th e fil m ic te xt to the litera ry te xt.

Theoris ts lik e S e ym our Chatm a n, Keith Coh e n and S tu a rt M c D oug a l m a in ta in e d the be li e f i n the interrela tion s hi p be tw e e n c in e m a a nd li te ratu re and p rop os e d se v e ral s tu d ies about adap tation, alw ays s e e k in g to analy s e th e e qu iv a lent e lem e nt s in both te xts and p ri ori tising, there fore, the c ri te ri on of f a ith fu ln e s s. Keith Cohen w a s c once rn e d w ith w hat he c a lled the “ d yn a m ics of exc hange ”, that is, the te nd e ncy of nov e ls to d e v e lop c in e m a togr aph ic res ou rce s and v ice -vers a. S e y m ou r Chatm a n ba s e d hi m s e lf on Barthe s ’ stud ie s on narrativ e to s tu d y the w a y in w hich film m a kers m a nage to trans fe r n a rrative fun c tions to the c inem a.

M c D ougal ana ly s e s the w a y in w hich e le m e nts of the na rr a tiv e (pl ot, c harac te rs, p oin t of v iew, s tr u c tu re, tim e, atm os p here, in ner th ou ght and oth e rs) are tr ans ferred t o th e c in e m a. Samadhi The Superconsciousness Of The Future Pdf Download. In a w ay, all of th e m c onsid e red fil m a d a p tation a s a ki nd of trans lation and p ri orit is e d the c ri te ri on of faithfulness. Be c a u s e m os t of th e s c hol a rs of adapt a tion w e re train e d in li te rary c ri ticis m, c ri tica l rec e p tion of fi lm a d a p ta tion s w a s “ pl a gu e d w ith t he ur ge to a s k how fa ithf ul the film v e rs ion i s to the o rigi nal” (Vinc e nd e a u, xii i). Re c e nt ly, c ri tics fr om c in e m a (fil m s tu d ies, fi lm jour nali s m ) be gan to take the re lation be tw e e n t he tw o m e ans m ore s e ri ou s ly. Th e n t here was a change in the focus of studies about adaptation, which now e m p has is e s fi lm ic e lem e nt s, u s in g com p aris on t o e nr ich th e e v a lu a tio n of the film and not the opposite. Criticism is based on “the kind of.