Wuthering heights on the screen: exploring the relations between film adaptation and subtitling

This essay aims to confront the literary text Wuthering Heights by Emily Brontë with five of its screen adaptations and Portuguese subtitles. Owing to the scope of the study, it will necessarily afford merely a bird‘s eye view of the issues and serve as a starting point for further research. Accordingly, the following questions are used as guidelines: What transformations occur in the process of adapting the original text to the screen? Do subtitles update the film dialogues to the target audience‘s cultural and linguistic context? Are subtitles influenced more by oral speech than by written literary discourse? Shouldn‘t subtitles in fact reflect the poetic function prevalent in screen adaptations of literary texts? Rather than attempt to answer these questions, we focus on the objects as phenomena. Our interdisciplinary undertaking clearly involves a semio-pragmatic stance, at this stage trying to avoid theoretical backdrops that may affect our apprehension of the objects as to their qualities, singularities, and conventional traits, based on Lucia Santaella‘s interpretation of Charles S. Peirce‘s phaneroscopy. From an empirical standpoint, we gather features and describe peculiarities, under the presumption that there are substrata in subtitling that point or should point to the literary source text, albeit through the mediation of a film script and a particular cinematic style. Therefore, we consider how the subtitling process may be influenced by the literary intertext, the idiosyncrasies of a particular film adaptation, as well as the socio-cultural context of the subtitler and target audience. First, we isolate one of the novel‘s most poignant scenes – ‗I am Heathcliff‘ – taking into account its symbolic play and significance in relation to character and plot construction. Secondly, we study American, English, French, and Mexican adaptations of the excerpt into film in terms of intersemiotic transformations. Then we analyze differences between the film dialogues and their Portuguese subtitles.

Science, gender and otherness in Shelley's Frankenstein and Kenneth Branagh's film adaptation

Questions of gender and genre in Frankenstein remain complex issues for contemporary critics, in the novel itself as well as in its cinematographic adaptations, from John Whale's classic 1931 version to Kenneth Branagh's 1994 "Mary Shelley's Frankenstein." Though science seems to be the unifying principle behind the main story of the novel and the films, I will argue that Shelley incorporates science and sexual orientation within her novel in a way that differs significantly from the films, and especially from Branagh's version.

Lichtspielkunstwerk und Sprachkunstwerk. Zur Funktion und Rolle des Films im oeuvre von Gerhard Roth:the function and role of film in the oeuvre of Gerhard Roth

This article examines the multi-layered interrelation between Gerhard Roth’s writing and film. It charts the corresponding relationship of his early books to their accompanying television documentaries. The main focus of this essay however is on the film adaptation of Stille Ozean (1980) and Landäufiger Tod (1984), the two major novels in his cycle Archive des Shweigens. Supplemented by a look at the two radically different adaptations of his volume of topographical essays on Vienna called Eine Reise in das Innere von Wien (1991), the article also provides a summary overview of the seven dramas written by Roth for Austrian television in the 1990s, some of which were directed by his son Thomas. Finally Roth's approach to the medium of film is being discussed by drawing on the 59 reviews he published between 1995 and 1997 as a film critic for the Austrian magazine NEWS.

The Greatest lover: a post-colonial rewriting of My Fair Lady

INTRODUCTION The popular Hong Kong comedy, The Greatest Lover, re-incarnates one of the most popular western musicals, My Fair Lady. OBJECTIVES 1. To find out in what major ways My Fair Lady was rewritten as the Hong Kong Cantonese movie, Gungzi Docing (The Greatest Lover). 2. To find out the socio-political, socio-linguistic, and gender ideology behind the rewriting. METHODOLOGY 1. To note the similarity of the themes for both works – a creator falling in love with his/her creation, and class prejudice and cross-class romance. 2. To note how the times of The Greatest Lover differ from that of My Fair Lady. 3. To note how the main characters in The Greatest Lover differ from My Fair Lady in terms of profession, gender, etc. 4. To note how the plot of The Greatest Lover differs from that of My Fair Lady. 5. To note how focus on language in The Greatest Lover compares with that in My Fair Lady. 6. To discuss the ideological implications of the differences noted above, e.g. women in Hong Kong today have much higher status than women in Victorian England; the conflict between local Hong Kong people and both legal and illegal immigrants from Mainland China is even more serious than that between the British upper middle class and the lower class during the Victorian period. 7. Andre Lefevere (1992) argues that translation and adaptation are rewriting informed and influenced by the rewriter’s ideology, among other things. 8. Both Aline Remael (1995) and Patrick Cattrysse (1992) think that film adaptation is a kind of translation. 9. Sirkkus Aaltonen (2000) argues that drama translation mirrors the ideologies of the target society. CONCLUSION 1. The Greatest Lover projects local cultural significance onto My Fair Lady by helping us to appreciate an important Western work of art through the Hong Kong Cantonese perspective. 2. Broader issues in translation and intercultural studies are also considered.

Cinema and the Work of Doré

According to Ray Harryhausen, a special effects expert in the film industry, "Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera." Doré's work has had a permanent impact on the imaginative realm of film since its very early days. In return, the silver screen has etched Doré into the 20th century imagination. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré's graphic world, beginning with Georges Méliès' A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault's Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977) and even the Harry Potter film series. Through his influence on film history, Doré shaped the mass culture imagination.

Redéfinition du concept d'utopie et des termes qui lui sont étymologiquement apparentés

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

L’image qui parle : comment traduire l’altérité par l’adaptation de la poésie au cinéma ?

L’aspect visuel dans les Illuminations de Rimbaud nous a amenés à nous demander s’il était possible d’adapter ces poèmes au cinéma. Il y a eu bien sûr plusieurs recherches sur le cinéma des années 20 qui exploraient la création poétique. D’autres recherches ont été menées pour trouver des traces de poésie dans des films narratifs un peu plus conventionnels. Bien que ces études soient fort intéressantes, nous voulions tendre vers une démarche plus radicale. Notre travail de recherche avait pour but de trouver le moyen de faire une adaptation de poème complètement autonome de l’œuvre originelle. Bien que nous nous soyons penchés sur les textes Surréalistes par l’entremise de Man Ray, nous avons aussi étudié des tentatives plus récentes d’adaptation de poèmes au cinéma. Nous avons découvert un lien entre ces adaptations et la notion d’altérité. C’est pourquoi nous avons décidé de traiter de notre sujet sous l’angle de l’altérité du point de vue philosophique. D’ailleurs, les trois films que nous avons retenus pour notre travail de recherche présentent des situations de marginalisation. La marginalisation est l’un des aspects de l’altérité qui nous intéressent. Le premier chapitre de ce mémoire est destiné à établir ce que nous entendons par altérité. Dans le deuxième chapitre, nous abordons l’adaptation de la poésie au cinéma en lien avec l’altérité. Nous avons adapté dix-huit poèmes des Illuminations de Rimbaud sous la forme d’un scénario dans la deuxième partie de ce mémoire afin de tenter d’explorer ce que nous avons établi dans notre partie théorique.

Adapter l'opéra au cinéma, entre création et reproduction : étude sociologique de "La Flûte enchantée" de Bergman

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal www.bib.umontreal.ca/MU).

Totally Clueless : Heckerling and Queer Sexuality in Austen’s « Emma »

This chapter offers a new reading of the sexual politics that are at play in Jane Austen's 1816 "Emma" through the exploration of film director Amy Heckerling's retelling of Austen's original story. Heckerling's 1995 film, "Clueless", can be understood as a free translation of "Emma" which allows an interrogation of some of the novel's received readings, especially those related to its male characters. [...]

Diálogos entre literatura e cinema: um estudo sobre The Dead de James Joyce

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Análise de Blindness como uma adaptação cinematográfica de Ensaio sobre a cegueira de José Saramago

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Reinaldo Arenas: encarceramento no mundo, voz no exílio

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Shrek: do conto aos filmes, em uma sucessão de paródias

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)