Abstract
This article analyzes the role of intermediality in Monique Gardenberg's film adaptation, benjamim: Ninguém Esconde o Amor (2003), based on Chico Buarque’s novel, Benjamim (1995). By employing the theoretical framework of intermediality (Clüver 2007, 2011 and Rajewsky 2005, 2010), this study examines the intricate intersection of media elements, such as image, music, and photography, within the film to explore the interplay between the novel-to-film adaptation and its source-text. Additionally, the article discusses the introduction of a new gendered dimension in the film and proposes that intermediality defines Gardenberg’s authorship of a new product, emphasizing the repetition with variation—a notion central to the pleasure and appeal of adaptations (Hutcheon 2006).
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