The study of film adaptation: a state of the art and some "new" functional proposals

Eguíluz, Federico; Merino, Raquel; Olsen, Vickie; Pajares, Eterio; Santamaría, José Miguel (eds.)

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.

Of tails and Tempests : Feminine sexuality and Shakespearean children's texts

This paper reads a range of nineteenth-century texts for children that retell either Shakespeare's The Tempest or mermaid narratives, considering the models of feminine subjectivity and sexuality that they construct. It then moves on to two key contemporary texts — Disney's film adaptation of The Little Mermaid (Clements and Musker 1989) and Penni Russon's Undine (2004) — that combine the Shakespearean heroine with the mermaid, and reads them against the nineteenth-century models. Ultimately, the essay determines that, while these texts seem to perform a progressive appropriation of the two traditions, they actually combine the most conservative aspects of both The Tempest and mermaid stories to produce authoritative (and dangerously persuasive) ideals of passive feminine sexuality that confine girls within patriarchally-dictated familial positions. The new figure for adolescent female subjectivity, the mermaid-Miranda, becomes in turn a model of identification and aspiration for the implied juvenile consumer.

Hamlet through the looking glass : Rosencrantz and Guildenstern are dead

The film adaptation of "Rosencrantz and Guildenstern Are Dead"'s constant reallocation of actor and audience roles (or subject and object positions) means that the film’s viewers are as deeply implicated in considering issues of identity, agency and determination as Rosencrantz and Guildenstern are. Tellingly, one of The Player’s outbursts reveals the philosophical connections between observing and being observed in ways that are true of the theatre, but which also transcend it: ‘You don’t understand the humiliation of it. To be tricked out of the single assumption that makes our existence bearable; that somebody is watching.’ In this statement is one of the film’s main concerns; that is, the relationship between knowing the self, knowing others, and being known by others.

The art of interpretation: Tracing logics of evaluation in Shaun Tan’s The Lost Thing (2000) and Andrew Ruhemann and Shaun Tan’s The Lost Thing (2010)

Celebration (and the celebritisation) of the Australian-ness of children’s authors who enjoy critical or commercial international success, and especially of those who win international prizes speaks to a desire to partake in both national and international cultural spheres. Prizing is often presumed to both guarantee and emerge from a creator's reputation at home and abroad. Australian artist and writer Shaun Tan has received a wide array of cultural and literary prizes, ranging from Australian book awards, to an Academy Award, to the Astrid Lindgren Memorial Prize. This paper considers logics of evaluation and interpretation as they can be traced in the intratextual, intertextual, and extratextual codes of Shaun Tan’s picture book, The Lost Thing (2000), the animated film adaptation of The Lost Thing (2010). It further considers the ways in which the desire for a global audience may necessitate an erasure of the national culture which is traded on in a global market.

David Williamson's The Club : football politic, a dirty story

Watching David Williamson’s The Club (Bruce Beresford, 1980) now, as a scandal over performance‐enhancing drugs threatens to destroy at least one AFL club and permanently taint the League’s credibility, while in another form of football a player is bought and sold for a world record fee of almost $150 million, the indignant outrage of the film’s coach and players over the $120,000 fee paid for a pot‐smoking raw recruit appears quaint and comic in unintended ways. Were it ever true, it seems harder than ever now to agree with Nick Parson’s assertion that ‘in Australia the only sphere of endeavour that is considered morally pure is sport.

Holding mirrors up to Hamlet: what Franco Zeffirellis and Michael Almereydas filmic adaptations of the play tell us about it

Hamlet (1601), de William Shakespeare, é, desde o Fólio de 1623, circundada por um enorme e variado volume de leituras, que abrangem desde textos críticos e teóricos até as mais diversas adaptações teatrais e cinematográficas. Desde o final do século 19, o cinema vem adaptando peças de Shakespeare, fornecendo novos pontos de vista e sugestões para a encenação dessa obra ao levá-la inúmeras vezes para as telas. Dentre uma longa lista de adaptações fílmicas de Hamlet, o Hamlet mainstream de Franco Zeffirelli (1990) e o Hamlet 2000 (2000), filme independente de Michael Almereyda, compõem o corpus eleito para análise nesta dissertação. Dialogando com noções de críticos e teóricos que desenvolveram estudos sobre o conceito de adaptação, tais como André Bazin, Robert Stam e Linda Hutcheon, sugiro uma desierarquização entre a peça shakespeariana e os filmes logo, entre literatura/teatro e cinema. O objetivo final deste trabalho encontra-se na proposta de uma reflexão sobre esses filmes enquanto potenciais materiais críticos elucidativos para o estudo da peça, úteis na discussão de alguns de seus mais importantes temas e/ou questões