Film Adaptation Research Articles

How Film Adaptations Make the Original Poetic

Abstract This essay argues that film adaptations make the original poetic because the mode of expression changes from “telling” to “immersion.” The author refers to Walter Benjamin’s translation theory to discuss the nature of adaptation and makes use of several widely celebrated novels and their film versions as examples.

From Mater Dolorosa to Mater Degenerata: Sacrifice and Subversion in Deledda’s Cenere and Duse’s Film

ABSTRACT In this article, I explore the presence of positivist and proto-Eugenic discourses in Grazia Deledda’s novel Cenere (1904) and the eponymous film adaptation by Febo Mari and Eleonora Duse, Cenere (1916). I introduce the term ‘mater degenerata’ as a trope that shows a direct influence of Lombrosian ideas on Italian literature and early Italian cinema. I argue that both authors are obsessed with the mother’s body, and their work reflects a diffused anxiety in Italian culture regarding unfit mothers. The essay has two main parts. In the first part, I introduce the ‘mater degenerata’ trope. In the second part, I offer a comparative analysis of Grazia Deledda’s novel and Febo Mari and Eleonora Duse’s film and highlight how Lombrosian positivist imageries were used in early twentieth-century Italian literature and cinema to depict the degenerate mother and to express social concerns regarding motherhood, reproduction, and national identity in liberal Italy.

Exercising Intercultural Performance in Adaptations: Regional Kerala Myths and Rituals used as tool in Shakespeare film adaptation in Kannaki and Karmayogi

Integral to the concept of "interculturalism" is an appreciation and knowledge of many cultural backgrounds. The major emphasis of intercultural performances is the equitable and meaningful interchange of performance standards and conventions. The timeless universal truths about mankind found in William Shakespeare's plays ensure that they remain relevant and influential even in our own day. Shakespearean plays are more amenable to adaptation into any genre because of their adaptability and flexibility as well as their inherent humanism. There is a lengthy history of retelling great stories in Malayalam film. The literary shifts, thematic echoes, and cultural subtleties that set apart the two film versions of Shakespeare's tragedies, "Hamlet" and "Antony and Cleopatra," from one another are the subject of this research. The exotic customs of Kelipathram and Poorakkali from Kerala have been included into the film to emphasize the cultural superiority of the Orient over the Occident. Shakespeare's Cleopatra continues to evoke mixed feelings in modern audiences; some see her as a manipulative force, while others find her aesthetically pleasing. Whatever your opinion, it's clear that Cleopatra defies categorization within patriarchal society's narrow definitions of women. The film's director gave Kannaki a mysterious air. Kannaki successfully achieves the characteristic of cinematic appropriation by meticulously blending mythological, cultural, geographical, and semiotic aspects within the narrative realm of Antony and Cleopatra. As a result, the director alludes to Antony and Cleopatra's politics inside Kannaki's oriental poetics.

Penggambaran Peran Gender dalam Keluarga di Film Noktah Merah Perkawinan

This study aims to examine the depiction of gender roles in the 2022 film version of Noktah Merah Perkawinan, which is a remake of the 1996 television series. The focus of the film is the dynamics of the marriage of a couple who have been married for 11 years. This research employs a qualitative approach with text analysis methods. The analysis technique used is Roland Barthes' semiotic analysis technique which consists of three stages, namely denotation, connotation, and myth. Meanwhile, the theory used in this research is symbolic interactionalism theory which emphasizes the concepts of roles and values. The data used include documentation of film scenes that meet the predetermined analysis criteria as well as related published journals. The results show that the depiction of gender roles in this film is still not ideal. Although both men and women are portrayed in domestic and public roles, domestic roles are predominantly held by women. This is due to the persistent traditional stereotypes, where women are seen as responsible for the domestic sector, while men are encouraged to take responsibility in the public sector. In conclusion, this film still maintains traditional stereotypes in the depiction of gender role distribution.

Analisis Framing Film Tuhan Izinkan Aku Berdosa

The film "Tuhan Izinkan Aku Berdosa" is an interesting work to be analyzed from the perspective of moral and religious framing. Hanung Bramantyo's film adaptation of Muhidin M. Dahlan's novel "Tuhan Izinkan Aku Menjadi Pelacur" offers a complex and controversial framing analysis. In this movie, themes of morality and religion are explored through a complex narrative and deep characters. The moral framing in the movie highlights the complex moral dilemma faced by the main character, who tries to balance between his religious faith and a complicated personal life. Religious framing in this context addresses the way the movie portrays religious teachings, religious practices, and their influence on the character's life. This research uses a descriptive qualitative method. George Lakoff's framing theory and framing theory in media studies provide a foundation for understanding how the selection of visual and narrative viewpoints can influence audience interpretation. The research is based on an in-depth literature study, including analysis of several related journals and books that discuss the role of framing in film. Through this approach, the movie "God Permits Me to Sin" is explained not only as a visual narrative, but also as a work of art that uses framing techniques to explore the psychological and social complexities in the story. .

Empowering Through Emotion: The Voice of Dissent against Gender Biasness as Delineated in the Film Adaptation of <i>The Queen of Katwe</i>

Empowering Through Emotion: The Voice of Dissent against Gender Biasness as Delineated in the Film Adaptation of <i>The Queen of Katwe</i>

Sensations and cinema: Reframing the real in democracy and education

In the film Sans Soliel, Chris Marker challenges received wisdoms with regard cinematic production of real worlds and real people. In Marker’s techniques, Jacques Rancière observes an intensely political, highly accessible, art form that leads to a theorisation of cinema for its democratic and educational functions. In this paper we take up Rancière’s interest in the democratic and educational functions of cinema through a reading of three films: Sans Soliel, Minority Report, and After Yang. Marker’s essayist cinema produces an uncanny experience of anthropological irony, and a mode of rethinking imperialism, revealing stories of communities that typically do not get told. Spielberg’s film adaptation of Philip K. Dick’s story is a cautionary contemplation on the ethics of the future of a police force that has access to visions of the future. Kogonada’s poetic lens muses on what it is to be human, what it is to be a family, and what it is to be a child and a parent negotiating complexity, loss, and identity. Each film is of interest here for the openness with which they engage thinking about democracy and education. They are democratic and educational precisely because they do not tell us what to think about democracy and education. Each film at the same time provides insight into Rancière’s thinking about the functions of cinema in producing senses of politics.

The (Im)Possibility of Self-Realisation in Fitzgerald's “The Curious Case of Benjamin Button” and Its Film Adaptation

The (Im)Possibility of Self-Realisation in Fitzgerald's “The Curious Case of Benjamin Button” and Its Film Adaptation

Adaptation Analysis Of Harry Potter And The Half Blood Prince Novel By J.K. Rowling Into Film By David Yates

Nowadays, there are many literary works that is transformed into an adaptation work. One of them is J.K rowling's novel entitled Harry Potter and the Half Blood Prince with the same title. Using this object, this article focuses on the motives that exist in the process of adapting the novel and make it into the form of a film adaptation. During process of transformation,it arises some changes and some excisions. These changes because of the consequences of the differences in the media, the text and audiovisual. There are three issues discussed in this research. First, what are the changes that have been made by the production team, the second, the consequences of differences in media against stories in novels and films, the third, the motives that contained in the film adaptation of Harry Potter and the Half-Blood Prince. Then, we use comparative method in this study in order to compare the differences between the novel and the film. During the process of analysis, we use the theory of adaptation and semiotic analysis. Furthermore, this article begins by classifying the differences that exist in the novel and compare it to the movie. After that, we use semiotics in order to help find the ideology that contained in the novel and the film. This ideology helps on finding the motives that contained in the film adaptation. The results of the analysis are: dominant ideology in the film adaptation is capitalism ideology that explains the economic and cultural motives in this film adaptation.

Invisible chain: breaking the taboo of abortion in Jeanne Caruchet’s L’Ensemencée (1904), Annie Ernaux’s L’événement (2000) and Audrey Diwan’s L’événement (2021)

ABSTRACT In L’Événement (2000), the author’s retelling of her experience of an illicit abortion in 1964, Annie Ernaux writes of a ‘chaîne invisible où se côtoient des artistes, des écrivaines, des héroïnes de roman’, stating that ‘[s]on histoire est en elles’. There is a timelessness to Ernaux’s abortion narrative, jumping between two temporal spaces: the contemporary narrator’s experience of writing the novel at the turn of the millennium, and that of the young Annie in the 1960s. Twenty-one years after the novel’s publication, Audrey Diwan’s film adaptation of the same name became another link on this chain, further highlighting the relevance of the story of a young woman’s illicit abortion almost 50 years after the decriminalisation of abortion in France. This article extends Ernaux’s ‘chaîne’ further back in time, by adding another female-authored novel: L’Ensemencée (1904), by Jeanne Caruchet. The author explores how these women’s experiences of abortion are presented across these three works, examining the change in attitudes towards abortion, with particular focus on the evolution of female communities, from the Belle Époque, through the turn of the millennium and into the early 2020s.

The Dialogic Relations between Text and Image: The Grimms’ Snow White in Tarsem Singh’s Creative Film Adaptation

The Dialogic Relations between Text and Image: The Grimms’ Snow White in Tarsem Singh’s Creative Film Adaptation

From Board Games to Video Games and the World of Avatars: Jumanji: Welcome to the Jungle

In the digital age, the relationship between film and literature demonstrates how different forms of art can collaborate to improve the storytelling experience. Rather than competing, these mediums complement one another, each bringing their own strengths to the storytelling process. This mutual relationship not only enhances the audience's experience but also fosters a greater appreciation for both film and literature (Hutcheon, 2006; Sanders, 2016). The various film adaptations of Chris Van Allsburg’s picturebook Jumanji (1981) are excellent examples of how literature and film can complement and improve one another over time. The first major adaptation of Jumanji was released in 1995 starring Robin Williams and directed by Joe Johnston. Decades later, the story of Jumanji was revitalized with the releases of Jumanji: Welcome to the Jungle (2017) and Jumanji: The Next Level (2019) both directed by Jake Kasdan. These adaptations illustrate the changing nature of storytelling across mediums and how each new iteration introduces new perspectives and engages contemporary audiences in novel ways. Mikhail Bakhtin’s concepts of heteroglossia and dialogic relationship (1981) are great tools for understanding how different voices and cultural contexts interact within and between texts, thereby revealing the dynamic nature of storytelling and interpretation. Thus, this paper aims to investigate how Bakhtin's concepts of heteroglossia and dialogic relationship function in Jake Kasdan's 2017 sequel, focusing on how the film adaptation evolves in response to its contemporary context.

Stanley Kubrick's Quest for the Heroic: Turning Wartime Lies into Aryan Papers

This article asks why Stanley Kubrick's longstanding wish to direct the film version of Louis Begley's 1991 novel Wartime Lies never came to fruition. In Begley's novel, the protagonist Maciek recounts the experience of living in hiding under a false identity in Nazi-occupied Poland. Kubrick drafted a series of quite different plotlines and conclusions for the film version, to be called Aryan Papers, in which Maciek's aunt Tania takes a highly dramatic role in their destiny. The more Kubrick changed Aryan Papers, in response to the pressure of Hollywood expectations and the cultural valorization of active Holocaust resistance, the less it resembled the very work he had chosen to adapt. This impasse shows why the director could not ultimately bring Aryan Papers to the screen.

“Who Needs a Marvel Superhero When You’ve Got Molly Johnson?”: Country and Maternal Agency in Leah Purcell’s Adaptations of “The Drover’s Wife”

ABSTRACT This article explores Goa-Gunggari-Wakka Wakka Murri artist Leah Purcell’s recent multigenre project, “The Legend of Molly Johnson”. Beginning as an adaptation of Henry Lawson’s “The Drover’s Wife”, the project fundamentally defamiliarises and subverts Lawson’s story from the standpoint of an Aboriginal woman. Evolving across different genres—from play to novel and film—Purcell’s project is a unique case of adaptation, identity-making and transmedia world-building. This article considers Purcell’s adaptations as a form of franchise storytelling, and central to her cultural and political interventions is the figure of Molly Johnson. As an iconic Aboriginal heroine, Molly is empowered by her deep connection with Country and her role as a mother. Central to the narrative is the theme of maternalism, which allows Purcell to weave her personal experiences and family history into the character of Molly, who encapsulates the strength and resilience of generations of Aboriginal women. Purcell’s “Drover’s Wife” project also mounts an intersectional critique of mainstream White feminism through the juxtaposition of Molly and Louisa Clintoff, a character introduced in the novel and film versions.

Derroteros hipertextuales e intermediales entre el relato periodístico y la ficción cinematográfica: del crimen de Mazarrón a El extraño viaje

Journalism has always been a rich breeding ground for audiovisual stories, but throughout much of the history of Spanish cinema, recognition of the generic label that “based on real events” implies has not been common. Being aware of the difficulties that arise when approaching a canonical work of Spanish cinema such as El extraño viaje (Fernando Fernán-Gómez, 1964) from this perspective, the purpose of this research is to carry out a comparative study of the transfer that is produced from the narrative journalistic report of the Mazarrón crime (an event that occurred in January 1956) and the fictional account of its film adaptation. This comparative analysis assesses how this transfer occurs, what are the traces of the event from which it derives and what existing documentary references, if any, are recorded in the film credits. We will see how El extraño viaje stands as a paradigmatic example of invisibility and erasure of the factual criminal story from which it comes, forced, among other reasons, by some interferences of reality imposed by the Franco´s regime.

Into the World, to the People – Some Remarks on the New Adaptationof Reymont’s Novel The Peasants [Chłopi

The article discusses the interpretation of The Peasants [Chłopi] by Władysław Reymont in DKand Hugh Welchmans’ 2023 fi lm adaptation of the novel. Numerous omissions in comparisonwith the source text primarily affect the fi lm’s portrayal of the village cluster/community. A particularepisode analyzed through references to the novel and the 1970s serialized fi lm adaptationis the ending of Jagna’s story.

TRAUMATOGENIC FEELINGS: A STUDY OF LITERARY AND CINEMATIC REPRESENTATIONS IN SELECT WORKS

The creative expressions of traumas can be literary works, blogs, films or documentaries. Such works do serve in expurgating the traumatogenic feelings in given situations almost in a cathartic manner. This paper aims to analyze the representations of trauma in select works-novels adapted into films. It tries to bring out the significance of educating people about trauma with the help of literary and cinematic depictions. Critics like Anne Whitehead and Michael Rothberg have studied various representations of trauma. However, this paper considers the role of media in informing people of probable traumatic situations. A close reading of literary and cinematic representations of trauma in The Secret Life of Bees, and We Need to Talk about Kevin is attempted here to understand the impact of traumatogenic feelings in individuals caught in convulsive situations. The Secret Life of Bees (2008) by Gina Prince-Bythewood is an adaptation of Sue Monk Kidd’s novel of the same title. It presents the story of Lily Owens, who has lost her mother at the tender age of four. She stays with her abusive father T Ray and their servant Rosaleen. Her life is engulfed with many unfavourable conditions, which she battles along with Rosaleen. We Need to Talk about Kevin (2011) is the filmic adaptation of Lionel Shriver’s novel of the same name. It narrates the story of Kevin who murders his father and sister. The selected representations will show how children are vulnerable to traumas, as a shaping factor in their conduct and behaviour- thus giving the analysis a psychoanalytic touch-which bears on the cultural consequences of traumatic experiences.

Interpretation of the Tiger Trappers Novel by Ivan Bahrianyi in the Ukrainian Cinematography of the 1990s and Musical Theatre of the 2020s

Attention is paid in the article to the landmark event of modern Ukrainian culture – the book celebrating its anniversary in 2024 – Ivan Bahrianyi’s novel the Tiger Trappers and the rethinking, interpretation of this work in the modern Ukrainian artistic space, in particular in cinematographic and theatrical texts. This year, 80 years have passed since the world saw the adventure work with autobiographical elements, which resonated not only at home, but also abroad. And this is not surprising, because Tiger Trappers has been translated into many languages of the world and had a circulation of over a million copies. Ivan Bahrianyi has submitted to a wide audience a very Ukrainian in spirit and worldview action, which even today in the 21st century is able to interest young people with its truthfulness and insight, its thirst and desire for freedom. The film version of the Tiger Trappers novel, which has appeared in 1994 at the Ukrtelefilm studio is analysed in the investigation. A well-known figure of Ukrainian culture Rostyslav Synko is a director and screenwriter of the film. The film text is based on the original source, but there are also differences those testify not only to another time period, the other era in which the film was shot, but also to certain new accents, a new vision, a reinterpretation of Ivan Bahrianyi’s novel about the young aviator Hryhorii Mnohohrishnyi. According to the plan of the author of the film story has another name. He is called Andrii Chumak in the film. There are also the other details those differ in the novel and in the fictional strip of the same name. And this is quite natural, because it is about the author’s interpretation, reinterpretation of a well-known work. The film of the same name also draws the viewer’s attention to the two Ukraines of the main characters: to the distant, dreamed-of real Ukraine with Golden-topped Kyiv and to the Second Ukraine, which immigrants, exiles from their native land, have built for them in the Far East in the bloody 20th century. In our time, this motif acquires new shades, because again, already in the 21st century, there are Ukrainian immigrants, again there are people who are forced to seek refuge all over the world, escaping from the terrible Russian invasion. Will new immigrants be able to find their Second Ukraine? Will they be able to return to their homeland? Life will show... The interpretation of the novel in modern Ukrainian musical theater is considered. Last year the musical Tiger Trappers directed by Serhii Pavliuk has been released basing on the novel of the same name by Ivan Bahrianyi. This fact, without exaggeration, has become a landmark artistic event, which has success with the audience and favourable reviews of critics. It is emphasized in the article that when we see a finished cultural product of the Ukrainian artistic space, whether it is a film or a theatrical production, a musical, etc., based on a certain work of fiction, we realize that this is already an interpretation, a reinterpretation. So, we are already talking about the creation of a new cultural text – a film text, a theatrical text, a musical text, etc. The significance of modern theater and film art is understood. It is claimed that the mission of art today is exactly rehabilitation through art. An artistic product should give hope, show a happy version of the course of events. Faith in the victory of good over evil, glorification of love that does not pass away – all this should be present in modern theatrical, musical and film texts today. After all, there is a demand for such cultural products in the modern time slice of the 2020s.

LATE MODERN ANXIETY AND DIGITAL JIHADIST ALTERNATIVE IN ANNA ERELLE’S IN THE SKIN OF A JIHADIST AND TIMUR BEKMAMBETOV’S PROFILE

For almost a decade, ISIS has held the status of the West’s radical other, its symbolic and real challenge to the western idea of modernity becoming ever more prominent and threatening with a growing accessibility of online propaganda content and recruitment via social media platforms in a largely unregulated social networking environment. In that context, the paper discusses Anna Erelle’s book In the Skin of a Jihadist and its film adaptation Profile as two distinct but complementary visions of the West and its other. My argument is that Timur Bekmambetov’s adaptation, as a Baumanesque critical reading of the West’s late modernity, is supplemental to the original text and its liberal views of jihadist otherness. Profile thus views the West and ISIS as two universalist visions of the world so that by facing the dangerous alterity on the computer screen, the West should not only see the morally inferior enemy to be exposed, transformed or eventually defeated but the reflection of its own late modern failures, disappointments and frustrations.

COMPARATIVE ANALYSIS BETWEEN THE NOVEL AND FILM LORD OF THE FLIES USING ENESTE’S ECRANISATION THEORY

Ecranisation is a process of finding out the difference between a novel and a film. One of the novels that has been adapted into a film is Lord of the Flies. Furthermore, this research aims to reveal the process of ecranisation between the novel Lord of the Flies (1954) and its film adaptation Lord of the Flies (1990) by William Golding. How are the differences between the novel Lord of the Flies (1954) and its film adaptation Lord of the Flies (1990). In analyzing, the writers use the theory of Ecranisation (1991) from Pamusuk Eneste which is divided into three processes, namely reduction, addition and variation. This research used a descriptive qualitative approach aimed at describing the phenomenon and its characteristics. The data is collected qualitatively by examining them throughout to get relevant issues and ideas and classify them. The results of the analysis reveal that in the film Lord of the Flies (1990), there is a narrowing and expansion of the original storyline, namely the novel Lord of the Flies (1954). This is because it does not take much time when presenting the story of the novel. The writers finds that the ecranisation process that occurs in Lord of the Flies does not change the core of the story, but only refine and beautify the story's fabric. Key words: Ecranisation, Eneste, Lord of the Flies (1954) novel, Lord of the Flies (1990) film