A Critique on the Film Adaptation of Neil Gaiman's Novel Stardust

Abstract

The aim of this paper is to provide a translation (adaptation) critique of the film adaptation of Neil Gaiman’s fantasy novel Stardust by approaching film adaptation as a type of intersemiotic translation. Film adaptation, being an intersemiotic and inspirational form of translation (Gottlieb, 2005) is a highly complex and subjective interpretation of a written source material into the filmic medium. Venuti (2007) points out the need to focus on the shifts observed in the film adaptation, emphasizing that these adaptation shifts are not neutral and that they reflect the filmmaker’s interpretation of the source material. Analyzing the shifts and the reasons behind these may lead to a better understanding of adaptations. Perdikaki (2017a) proposes a model for the systematic analysis of the changes (adaptation shifts) from novel to screen using an interdisciplinary approach combining insights from adaptation and translation studies and narratology. This model is significant since it is the first systematic and comprehensive model to provide a unified framework for both translation studies and adaptation studies. Her model consists of two components, i.e. a descriptive/comparative component and an interpretive one. The descriptive/comparative component focuses on the ‘medium-independent’ categories where the shifts can be observed. These ‘medium-independent’ categories make it possible to compare and analyze the transfer of meaning from one work of art to another, which are operating in two different mediums. The interpretive component aims to reveal the rationale behind the shifts to complete the critique. Through the application of the model to the film adaptation Stardust, the adaptation shifts were identified and the intricate interplay of reasons at play were discussed.