Screen Adaptation Research Articles

A study on screen adaptations from Literature with reference to Chetan Bhagat’s Novel

In order to cater a huge audience, film makers from all over the world have adopted literature writings for movie making. The key purpose of these screen adaptations lies in giving visual appeal to the black and white words of the author’s writings. Furthermore, there are restricted readers for different genres and subject of novel and literature respectively. But film making satisfies the hunger of a large heterogeneous audience with the element of ‘entertainment’. The idea of screen adaptations dates back years ago when people had limited options for entertainment and recreational activities. The study is based on movies made in Bollywood which have been inspired by the writings of novelists. This is a qualitative research in which Chetan Bhagat’s novel ‘Five Point Someone’ and ‘2 States’have been take up by Bollywood film makers to make movies ‘3 Idiots’ and ‘2 States’ respectively. The research methodology will be content analysis that how writer’s experience with words can make movie audience fall for it through the adaptations.

Maternal hypothyroidism and neonatal outcome

Background: Hypothyroidism is widely prevalent in pregnant women and the rate of detection, especially in a developing country like India, has not kept pace with the magnitude of the problem. The present study was conducted to evaluate thyroid function in neonates born to mothers with hypothyroidism.Methods: A prospective observational study was conducted in KIMS Hospital Tertiary care center for 6 months. A total of 106 neonates born to mothers with hypothyroidism were included in the study. Thyroid functions of these babies were assessed at 72 hours of life.Results: In present study, 11.8 % of mothers were hypothyroid of which 87 % were subclinical hypothyroidism and 13 % of overt hypothyroidism due to adaptation of universal screening rather than targeted screening for hypothyroidism which would otherwise go unrecognised and untreated.Conclusions: All the babies had normal TSH and T4 levels which was probably due to early diagnosis and timely initiation of treatment to the mothers with hypothyroidism.

Modernist narrative techniques in the screen adaptation of the novel „Minuet for Guitar”

This contribution focuses on the novel „Minuet for Guitar”, by Slovenian author VitomilZupan, and its film adaptation, entitled „Farewell until the Next War”, by Serbian director Živojin Pavlović. Firstly the article deals with the novel from the perspective of modernistnarrative devices, and secondly it focuses on the analysis of its cinematic adaptation. Basedon the anthropological-morphological method of film analysis it establishes that ŽivojinPavlović used modernist narrative devices in film. Furthermore it studies how and throughwhich cinematic forms of expressions and methods stream of consciousness and memories areshown, as well as how essayistic style, fragmentariness, and associative style are expressed inaudio-visual representation.

The cinematographic adaptation of English novels and G. Deleuze's "time-image": Filming Pride and prejudice, The great Gatsby, and The remains of the day

This essay attempts to analyze such cases of the screen adaptations of English novels as Pride and Prejudice, The Great Gatsby, and The Remains of the...

Film Phenomenology and Adaptation: The “Fleshly Dialogue” of Jane Campion’s In the Cut

This article proposes that the philosophy and methodology of film-phenomenology offers a fresh perspective for the analysis of screen adaptation. In the article’s first section, I explore why adaptation studies as a discipline has turned a blind eye to the subjective experience of screen adaptation, preferring modes of analysis that foreground adaptation as an objective intersection or layering of texts. But, as I suggest, any analysis of an adaptation is impoverished without also attending to their material texture. Using the theoretical insights of phenomenology—and how they have been taken up in film studies, particularly by scholar Vivian Sobchack—I probe the sensual contours of Jane Campion’s 2003 film In the Cut, her adaptation of Susanna Moore’s erotic-thriller novel. In doing so, the phenomenological method reveals how Campion makes palpable the experience of the novel’s first-person narrator for the spectator in what I term ‘tactile orientation.’ The analysis of this case study reveals the broader value of the phenomenological method for screen adaptation and renews an appreciation of adaptations as works of art.

Особливості вживання детективної лексики екранізацій художніх творів Артура Конан Дойла про Шерлока Холмса у світовому кіномистецтві

Особливості вживання детективної лексики екранізацій художніх творів Артура Конан Дойла про Шерлока Холмса у світовому кіномистецтві

Byronic Heroes in Nineteenth-Century Women's Writing and Screen Adaptation by Sarah Wootton

Byronic Heroes in Nineteenth-Century Women's Writing and Screen Adaptation by Sarah Wootton

Interview with Arthur Laurents

Interview with Arthur Laurents Walter Raubicheck (bio) and Walter Srebnick (bio) Besides his work on Alfred Hitchcock's Rope (1948), Arthur Laurents (1917-2011) had a long and distinguished career as a playwright, novelist, screenwriter, and director. Best known perhaps for the book for West Side Story (1957), on which he collaborated with Leonard Bernstein, Jerome Robbins, and Stephen Sondheim, and Gypsy (1959), on which he shared credit with Sondheim and Julie Styne, he also wrote the dramas Home of the Brave (1945) and The Time of the Cuckoo (1952), as well as other plays. He later authored the novels The Way We Were (1973) and The Turning Point (1977), as well as both their screen adaptations. He also composed many other screenplays besides Rope, including The Snake Pit (1948), Summertime (1955), and Anastasia (1956). And he directed plays, including Gypsy and West Side Story several times. While never a Hollywood insider, Laurents was part of Hitchcock's inner social circle in the late 1940s, and the director told several other screenwriters, including Joseph Stefano, that he was as good a screenwriter as he had ever worked with. Always involved in politics, Laurents was blacklisted in the early 1950s and lost his passport for a time. In 1999 he published a memoir of his life and career, Original Story by Arthur Laurents, and after his death, friend and theatrical director David Saint published a coda to it, entitled The Rest of the Story (2012). We first met Arthur Laurents in 1999 at NYU's Centennial Conference on Hitchcock, where he participated in a panel featuring authors who had written [End Page 97] screenplays for the director. Besides Laurents, the panel featured Evan Hunter and Joseph Stefano. Subsequently we interviewed all three writers individually, as well as Jay Presson Allen, hoping to do a book on Hitchcock and his collaborations with writers. This plan eventually resulted in Scripting Hitchcock (University of Illinois Press, 2011), which examined the process that produced what we dubbed the "triptych" of Psycho (1960), The Birds (1963), and Marnie (1964). However, since the book was limited to the years 1959-1964, we were unable to use the interesting interview we had done with Laurents about his work on Rope, an interview we are presenting now because it represents his last public comments on an important film in the Hitchcock canon, not only because of the "ten-minute takes," but also because of its politics and its treatment of homosexuality. Laurents agreed to speak with us early in 2002, and he requested only that we buy him lunch at a French bistro near his apartment in the West Village (only a few blocks from the apartment where Jefferies gazed out his rear window). The food was good and the conversation even better. He was open, forthright, charming, witty, sharply critical about some people, films, and plays, but also enthusiastic and insightful about others. We laughed a lot and, though he cast a jaundiced eye on academic film criticism, he treated us with interest and respect. Clearly he liked Hitchcock and believed that his visual sense was superior to that of other directors—though surprisingly he spent little time with him in pre-production crafting the script, unlike the other writers who claimed that Hitchcock could have taken a writing credit because of the extensiveness of the collaboration. Hitchcock, in turn, must have liked Laurents and thought highly of his talent, since he later asked him to work on Under Capricorn (1949), Torn Curtain (1966), and Topaz (1969), though Laurents declined because he did not like the source material. Though our conversation covered a number of topics (in particular West Side Story), what we are including, lightly [End Page 98] edited for clarity and continuity, are his comments on Rope, other Hitchcock films, and Hitchcock himself, as a person and filmmaker. ________ Interviewer: Before we talk about your work with Hitchcock, I just wanted to mention that this morning I was part of a committee interviewing a candidate to teach musical theater at Pace. There were some students and a couple of other faculty members on the committee, and when I mentioned that I had to leave because I...

Books Received

Books Received (with assistance from Ralf Thiede) Charles Perrault: The Complete Fairy Tales. By Charles Perrault. Edited and translated by Christopher Betts. Oxford: Oxford University Press, 2018. First published in 2009, this reissued collection of Perrault's fairy tales includes a scholarly introduction and explanatory notes by Christopher Betts, who also provides a detailed chronology of important events and milestones in Perrault's life. More Than True: The Wisdom of Fairy Tales. By Robert Bly. New York: Holt, 2018. Known primarily as a poet, Robert Bly is also a cultural critic associated with the mythopoetic movement. In this short volume, he discusses the cultural and psychological messages embedded in six traditional fairy tales: "The Six Swans," "The Frog Prince," "The Lindworm," "The Dark Man," "One-Two Man," and "The White Bear King Valemon." Verjüngte Antike: Griechisch-römische Mythologie und Historie in zeitgenös-sischen Kinder- und Jugendmedien (Antiquity Rejuvenated: Graeco-Roman Mythology and History in Contemporary Media for Children and Youth). Co-edited by Markus Janka and Michael Stierstorfer. Heidelberg: Universitätsverlag Winter, 2017. This collection of seventeen essays (plus an introduction by the editors) originated in Medusa & Co. Reloaded, an international conference held in Munich in October 2015. The contributors discuss why children and young adults have a renewed interest in Greek and Roman myths, stories, and history, reflected not only in their literature but also in video games and movies. The contributors study the implications of this renaissance, describing its international scope, its didactic implications, its potential to become the vehicle for social and political commentary, and how the materials are reinterpreted and appropriated for genres such as fantasy movies. Vom Premake zum Remake: Gender-Diskurse und intermediale Bezüge in den deutschen Verfilmungen der Kinderromane Erich Kästners (Prequels and Sequels: Gender Constructions and Media Cross-References [End Page 474] in German Screen Versions of Erich Kästner's Children's Novels). By Tao Zhang. Heidelberg: Universitätsverlag Winter, 2018. Erich Kästner's literary work includes several immensely popular books for children. Like Alice in Wonderland and Pinocchio, they have been adapted for film and television several times over (from 1931 to 2007). Tao Zhang investigates how such successive cinematic reinterpretations reflect changes in the zeitgeist of popular German children's culture and how the influence of modern media has affected the reception of Kästner's work. In particular, she documents how successive cinematic adaptations reflect changing perceptions of gender roles, noting that Kästner's own social construction of child and adult characters evolved over time. So deeply embedded in German cultural space is Kästner's work that Zhang ended up tracing a complex web of connections: references to other books, to both "prequels" and unrelated movies, to contemporary media, and to changes in society (including changes in Germany's ethnic diversity). [End Page 475] Copyright © 2018 Children's Literature Association

The Making of Jane Austen

The Making of Jane Austen

Lay Perceptions of Historical English as Portayed in Rolahnd Joffé’s Screen Adaptation of The Scarlet Letter

Lay Perceptions of Historical English as Portayed in Rolahnd Joffé’s Screen Adaptation of The Scarlet Letter

Lay Perceptions of Historical English as Portayed in Rolahnd Joffé’s Screen Adaptation of The Scarlet Letter

espanolEste articulo toma como objeto de analisis una adaptacion cinematografica de un clasico literario estadounidense, La Letra Escarlata (1850) de Nathaniel Hawthorne, desde el punto de vista del lenguaje. La pelicula examinada es la adaptacion libre de Roland Joffe de la novela de Hawthorne (Joffe 1995). La presente contribucion sugiere un enfoque diferente para el analisis del lenguaje de las peliculas de epoca al que normalmente se adoptaria en el marco de la dialectologia. Esta perspectiva implica un cambio de paradigma de representacion (objetiva) a percepcion (subjetiva): en particular, propongo centrarme en el discurso metalinguistico de los criticos de cine, tanto en el de los escritores profesionales como en el de los no profesionales (que colaboran en periodicos y blogs), con especial referencia a sus comentarios sobre los fenomenos linguisticos en La Letra Escarlata de Joffe, a saber: acento, caracteristicas sociopragmaticas y morfologia verbal. EnglishThis paper takes as its object of analysis a cinematic adaptation of an American literary classic, i.e. Nathaniel Hawthorne’s The Scarlet Letter (1850), from the point of view of language. The film under scrutiny is Roland Joffe’s free adaptation of Hawthorne’s novel (Joffe 1995). The present contribution suggests a different approach to the analysis of the language of period movies than one would typically adopt within the framework of dialectology. This perspective involves a paradigm shift from representation (objective) to perception (subjective): in particular I propose to focus on the metalinguistic discourse of film reviewers, both professionals and lay writers (writing for newspapers and blogs), with particular reference to their commentaries regarding linguistic phenomena in Joffe’s The Scarlet Letter, namely accent, socio-pragmatic features and verbal morphology.

Экранизации братьев Стругацких и эволюция отечественного кинематографа

Огнев Константин Кириллович, доктор искусствоведения, профессор, Академия медиаиндустрии (Москва, Россия). E-mail: ognev@ipk.ru K. K. Ognev, ognev@ipk.ru The State Academy of Media Industry, Moscow, Russian Federation

Kurjuse intermeedialisest avaldumisest

The article explores evil as a medium, proceeding from Joachim Paech’s differentiation between the medium and its manifestations. In this light, evil is viewed as a phenomenon that can be expressed in only certain media forms and which therefore assumes different form-specific levels of meaning. Paying attention to different manifestations of evil makes it possible to analyse different intermedial aspects of works of art, making use of the notions of the overt and covert. The manifestation of evil in a perceptible and definable manner enables us to recognise, avoid or even overpower it. However, its covert and ambiguous manifestations are more powerful. Thus, the concealing of evil is characteristic of narratives that allow evil to manifest itself without direct reference to or overt representation of it. The visual representation of evil as an image, be it through mental description of images or physical images on the screen, reveals two contrastive regimes. One of them could, following Roland Barthes,be called obvious (obvie). Th is regime is characterised by the use of traditional rhetorical devices and its emphasis on symbolic expression.The second regime could be labelled obtuse (obtus). In this case, the focus is not on the meaning of the image, but its materiality. The article applies this theoretical apparatus to the analysis of two Estonian novels, The Misadventures of the New Satan (Porgupohja uusvanapagan) and Old Barny or November (Rehepapp ehk November) and their respective screen adaptation. It focuses on the image ofthe devil and, more broadly, the manifestations of evil. The analysis suggests that the first pair primarily displays the use of the obvious regime, accompanied by the obtuse; the second pair reverses the perspective. The aestheticisation of the obtuse emerges as the central feature of Old Barny or November as well as the visual designof its screen adaptation. The analysis also touches on the differences between the devil and the ogre (vanapagan in Estonian) and themore or less symbolic representations of the material elements associated with evil. Keywords film, novel, devil, ogre (vanapagan), image, Roland Barthes

The Many Faces of Jane Eyre: Film Cultures and the Frontiers of Feminist Representation

This article provides an analysis of screen adaptations based on Charlotte Brontë’s novel Jane Eyre (1847). Looking at different cultures of feminism in the 1940s, 1980s and 2000s, it examines how the character of Jane has been diversely portrayed at times when gender norms were being rigorously challenged in the culture. The adaptations’ engagement with Brontë’s implicit feminism is examined in the context of each period’s prevailing feminist ideologies as well as in the practices employed by the film and television industries.

Party Politics: Ideology and Musical Performance at Donald Trump’s Inaugural Celebration

Research Article| December 01 2017 Party Politics: Ideology and Musical Performance at Donald Trump’s Inaugural Celebration Dan Blim Dan Blim Dan Blim is assistant professor of music at Denison University. During 2017–18 he is a fellow at the University of Rochester Humanities Center, where he is developing a book project on music and memorialization. He has also published research on stage and screen adaptations in musical theater, political narratives in Harry Smith’s Anthology of American Folk Music, and Bernard Herrmann’s score to Alfred Hitchcock’s Vertigo. Search for other works by this author on: This Site Google American Music (2017) 35 (4): 478–489. https://doi.org/10.5406/americanmusic.35.4.0478 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Dan Blim; Party Politics: Ideology and Musical Performance at Donald Trump’s Inaugural Celebration. American Music 1 January 2017; 35 (4): 478–489. doi: https://doi.org/10.5406/americanmusic.35.4.0478 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressAmerican Music Search Advanced Search The text of this article is only available as a PDF. Copyright 2018 by the Board of Trustees of the University of Illinois2018 Article PDF first page preview Close Modal Issue Section: COLLOQUY You do not currently have access to this content.

Оригінальна другорядність: кіносценарій за літературним текстом (“Intermezzo” Сергія Параджанова)

A screenplay, being a new and objectively separate form of the modern art and at the same time a new type of text, takes an autonomous niche in the literary canon. Though and nowadays too little scientific attention is paid to the script legacy of one writer/scenarist/artist or another. Normally screenplays are incorporated into the complete works of a writer on the rights of addendum to the main body of texts as merely a minor work in spite of the fact that a screenplay can be written more masterly than its film interpretation. If it comes to an editor or a scenarist who did not manifest themselves actively on the field of literature then their texts can be found at best in collections of screenplays or in archives in typewritten form albeit the texts as separate creations can appear really valuable from the aesthetic standpoint. Even more complicated situation is with a screenplay-interpretation of a literary text: first of all because of uncertainty of the status it does not just stay on peripheries of the genre hierarchy but is ignored as a text.A scenarist-adapter in such a case appears not quite an original author of his text: he does not bear full responsibility for his creation as the aesthetic value of adaptation on the one hand depends on quality of the original and on the other hand on competence of the screenplay's reader (the whole film crew), capable of noticing, evaluating and accepting the scenarist's version. Hence the reference to the literature classics, proven by the receptive environment and by time, argues “the technology” of creation of an original film model. Thus the minor status of the text-intermediary must not necessarily evidence of the minor quality. The more original are properties of a literary primary source, the greater unbalancing of them creates the screen adaptation, the bigger creative talent is needed to strike a new balance, may be not the same but equivalent in artistic value to the previous one. In line with the defined vector the original minority demonstrates itself on the example of the screenplay “Intermezzo” (1970) by Serhii Parajanov based on the text of the same name of Mykhailo Kotsiubynsky.

Cormac McCarthy and Performance: Page, Stage, Screen

Cormac McCarthy and Performance: Page, Stage, Screen

콘래드의 작품 전복시키기: 영화 「문명의 전초지』와『승리』에서 나타난 타자의 재주변화

콘래드의 작품 전복시키기: 영화 「문명의 전초지』와『승리』에서 나타난 타자의 재주변화

The American Mad Max

Beginning with the incredible success of The Road Warrior, the Mad Max franchise became a foundational US post-apocalyptic fantasy. That film’s rusted wasteland aesthetics and heroic lone-wolf ethos proved enormously influential, affecting the very possibilities for imagining such future scenarios. This article examines Mad Max’s impact by looking to a post-apocalyptic alternative in The Postman (both David Brin’s novel and Kevin Costner’s screen adaptation). Despite their Australian origins, the Mad Max films have now been long established as iconic American expressions. But The Postman’s awkward, community-driven, patriotic vibe establishes the fulfilling future that George Miller initially sought – yet failed – to create. The harrowing narrative of The Postman both competes with and complements Mad Max’s nightmare world, offering a significantly different account of post-apocalyptic mayhem and renewal.