Screen Adaptation Research Articles

Semantic adaptation of the Global Psychotrauma Screen for children and adolescents in the United States

ABSTRACT Background: The review of trauma screening tools for children and adolescents indicates a need for developmentally and linguistically appropriate, globally applicable, free, and easily accessible trauma screening instruments. Objective: The aim of this study is to adapt the Global Psychotrauma Screen (GPS) for children and adolescents in the United States. Method: Using the modified Delphi method, this study included the GPS Expert Consensus (GPS-EC) and the GPS Stakeholder Consensus (GPS-SC) substudies. In the GPS-EC, ten reviewers who specialize in trauma services independently revised the GPS child and adolescent versions in four rounds. In the GPS-SC, a stratified minimum sample of children and adolescents (n = 24) and their parents (n = 24) were interviewed to collect feedback on the revised GPS versions. Results: In the GPS-EC Round 1, a low level of consensus was observed on the anxiety (restlessness) and depression (loss of interest) items. In Round 2, a high level of consensus was achieved on all but PTSD hypervigilance and detachment, and CPTSD self-concept items. Round 3 indicated a low level of consensus on the exposure and functioning items. Full consensus was achieved in Round 4 on all items. In the GPS-SC, children had more difficulties than adolescents with the exposure, dissociation, and risk-protection items. Conclusions: Based on the results of this study, the semantic adaptation process concluded with implementation of six decisions on the final GPS versions for children and adolescents: adding a non-binary gender choice for adolescents; removing the exposure section; using a full-sentence structure for children and a phrase structure for adolescents; retaining the two-part items on PTSD intrusion and avoidance, retaining self-blame but removing other-blame in the PTSD-blame item; providing specific descriptions of depersonalization and derealization in the dissociation items; and removing risk-protection and functioning items for children.

Образ Федора Долохова в экранизациях романа «Война и мир»

The article discusses the reception of the literary image of Fyodor Dolokhov in screen versions of L. N. Tolstoy’s novel “War and Peace”; it highlights the main features of the representation of this image in the movie. The material for the study was six publicly available domestic and foreign film adaptations of Tolstoy’s novel released in 1956, 1965, 1972, 2009, 2012, 2015.

Вечная ревизия. Экранизации гоголевских текстов в ХХI в.

Post-Soviet era directors have been searching for the new aesthetic footholds in the images of Gogol’s works. Starting from pure satire denouncing the pre-revolutionary system, they have moved on to the absurdist grotesque. This was significantly influenced by the discoveries of Gogol scholars in the 1990s–2000s and the actualization of the interpretations of Gogol’s works created at the turn of the 19th–20th centuries, which were inconceivable for Soviet literary criticism Screen adaptations have been affected both directly—by theatrical productions of Gogol’s oeuvre, and indirectly—by a long tradition of stage appeals and directors’ decisions on his stories. The transfer of Gogol’s dramaturgy into the 21st century gave film directors and screenwriters the opportunity to maximize the relevance and social sensitivity of the plots. In the 21st century, the theme of an inspection as an image of the Last Judgment has been transformed into a semblance of a police detective. Most of the characters are related to the police or special services, to investigations, to real retribution. While for Gogol the idea of judgement lies in the moral plane, in post-Soviet interpretations it is usually associated with earthly requital, and an extremely explicit one, tailored to a crime TV series audience. Against such a background, Grigory Konstantinopolsky’s film adaptation of Dead Souls summarizes a decade of Gogol film interpretations. The story of Chichikov blatantly accumulates and travesties the previous tradition of presenting Gogol’s detective plots. The film actualizes the issue of a positive hero, the problem of memory transformation, and cinema’s responsibility to the society in the period of losing its literature-centeredness. The transformation of the spiritual and intimate life of Gogol’s contemporaries, which was the most important theme for the writer, was also updated in a number of motifs: the lack of foundations for understanding between loving people (Marriage, 2009), the displacement of traditional gender roles (Happy Ending, 2010), the privatization of national memory, and summing up the unformed aesthetics of the new Russian cinema by the “lost generation” of the ‘90s (Dead Souls, 2020).

A Henry James Filmography (2021)

A Henry James Filmography (2021) Sarah Koch This is the third iteration of "A Henry James Filmography," an international catalog of screen adaptations of James's works for television, cinema, and straight-to-video. The first version, containing 101 adaptations representing 44 of James's works, was published in the Henry James Review in 1998. An updated version appeared in Henry James Goes to the Movies with 124 adaptations of 45 titles from James's oeuvre. The research since the second publication revealed that the appeal of James's works for film and television is far from waning. And though the conversation about the difficulty of transferring James to the screen continues, it is abundantly clear that those difficulties—whether recognized or ignored by those in the entertainment industry—haven't stopped people from trying it, even if that means working ground that has already been heavily worked as in the case of "The Turn of the Screw" (TS) The third version of the catalog includes 210 titles based on at least 51 of James's short stories, novellas, or novels.1 The range of countries heard from also expanded to include Argentina, Austria, Australia, Brazil, India, Japan, Mexico, New Zealand, the Philippines, Slovakia, and Turkey. Of the 86 additional titles, 32 were produced, or at least begun (if not yet completed), since 2002. The range of genres has also changed. In addition to cinematic releases, TV drama anthology episodes, TV movies, mini-series, and televised operas (based on "The Turn of the Screw" and "Owen Wingrave"), there is now also one TV serial (The Wings of the Dove, Kiniro no tsubasa / Golden Wings, Japan, 2007) and the occasional straight-to-video production. YouTube.com (https://www.YouTube.com) is particularly useful to those looking for online viewing fare, offering a number of James-based full-length films and TV episodes, and is a repository for unique projects, like a taped performance of the Jeffrey Hatcher play based on TS and a film short of "The Liar." To be clear, there are standards that must be met for a production to qualify for this catalog. It isn't necessary, though, that a specific work or combination of James's works be given screen credit for a production to be included if credible indications can be found elsewhere. For example, The Others, the 2001 film starring Nicole Kidman, does not refer to Henry James in the opening or closing credits. And it is not [End Page 60] sufficient that reading a plot analysis of the film, let alone viewing the production, might lead anyone familiar with "The Turn of the Screw" to see a connection.2 After all, there have been so many screen adaptations of this novella and with so many variations (changes in setting, time period, and any number of added twists or changes of perspective) that one could be pardoned for, ironically perhaps, seeing something that isn't there. Fortunately, while looking for solid evidence, I discovered a glorious read titled The Reception of Henry James in Europe (Duperray). This volume of 20 essays by experts such as Philip Horne, Andreea Ionescu, and Donatella Izzo also included an essay by Dennis Tredy, "'Catholicizing' the Governess: Henry James in Spanish Film." Tredy, in discussing the 2001 film, declares that, "Although Henry James is not given a by-line in the opening or closing credits, it is undeniable that [the director] relied very heavily on characters, devices and dynamics that belong to TS and its century-long legacy of interpretations" (222). That, supported by the statements of others, including Nicole Kidman and the director/adapter Alejandro Amenábar, qualified The Others for this filmography. "The Turn of the Screw" continues to be the most frequently adapted, with 47 versions in all, 18 within the last 17 years.3 Not even a pandemic, it seems, will halt adaptations of James and may even make his works that much more attractive. To use the 2001 The Others yet again as an example, this film not only led to the 2004 Indian adaptation Hum Kaun Hai? but has inspired two new projects currently in development as of late summer 2020. One of them...

ВИЗУАЛЬНЫЕ ОБРАЗЫ ПРОСТРАНСТВА. ОБЗОР VII МЕЖДУНАРОДНОЙ КОНФЕРЕНЦИИ «ГЕОГРАФИЯ ИСКУССТВА»

The Geography of Art International Scientific Conference has a long history. Geography of Art began in 1994 and was originally conceived as a purely publishing project. In 2009, the first conference was held under the auspices of the Likhachev Russian Research Institute for Cultural and Natural Heritage and its director Yuri A. Vedenin. The topics at the conferences are traditionally very diverse, but the “protagonist” of all discussions, debates, and subsequent collections is invariably space, in all its guises, and its interaction with culture. The original subjects such as the geography of art schools and traditions and the placement of artifacts on the earth’s surface have over time been supplemented by conceptual questions of the construction of spatial images in painting, literature, and cinema. Over the past few years, the conference has been organized by the Institute of Scientific Information on Social Sciences of RAS, the Russian Academy of Arts, GITR Film and Television School, and the Russian State University for the Humanities. In 2021, for the first time, the conference was arranged in a hybrid format: some sessions were held in person at the Russian Academy of Arts and GITR, while some discussions were convened online. This made it possible to significantly expand the geography of our participants. An important topic was brought up—the possibility of generating images of space and transforming the spatial picture of the world by different types of art, including screen art, creating new meanings of places and regions. A separate section was devoted to the concepts of space and the corresponding images in digital media, cinematography and photography. The section discussed the peculiarities of national cinematography from the point of view of forming the country’s image, which can play a significant role in intercultural communication, and regional images created with the help of photography and IT-technology as an attractor in the formation of recreational flows. Among other things, the conference covered the specifics of space perception in the era of digitalization, the creation of representations, and spectacularity. A separate topic was the construction of narrative topoi within the framework of different versions of screen adaptations of the same work. All discussions complemented each other in creating a three-dimensional picture of spatial images by means of digital and screen arts, generating a modified reality supplemented by photo and film visualizations.

ПЕРВАЯ ЭКРАНИЗАЦИЯ «ПРИКЛЮЧЕНИЙ АЛИСЫ В СТРАНЕ ЧУДЕС» (ALICE IN WONDERLAND, 1903)

The article is dedicated to the British silent film Alice in Wonderland by Percy Stow and Cecil Hepworth, which was found and restored in 2010. The 12-minute film was unusually long for early cinema. Almost all of the survived credits annotate several short scenes at once, showing their interconnection or, conversely, apartness from each other. This suggests that some scenes were sold not separately, but as a series of scenes united by a credit. Structurally, each fragment of the film, consisting of 2–3 scenes, is similar to one episode of series. Therefore, the origin of the principles of seriality in cinema can be associated with film adaptations of fairy-tale stories. The concept of space demonstrates the inner duality of the Wonderland. The private part of it looks like an English landscape garden, while the space of the Queen and her entourage is designed as a classicist regular park. In his adaptation (2010) of Carroll’s fairy-tale, Tim Burton will further unfold the theme of duality and conflict inside the Wonderland. In the 1903 film adaptation, Alice was played by May Clark, a grown-up girl who worked at the Hepworth studio. The dreamlike nature of the screen reality is emphasized by the restraint of the amateur performers’ play and the unobtrusiveness of the fantastic, when the screen fantasy world is both similar and different from the everyday life. The marriageable age of the heroine and some of the scenes that look like Alice’s “going through the torments” make us interpret the action as the embodiment of her unconscious. The magic garden, where a young girl is so eager to get, a symbol of the desirable joys of an adult life, becomes a nightmare for Alice. The film was released in the same year as the Women’s Social and Political Union (WSPU) was established, and it merged into an era of revision of Victorian ideals and rejection of the perception of women in line with patriarchal values. Tim Burton’s film, created in the era of the new emancipation and reconsideration of gender, largely corresponds to the first screen adaptation of Alice in Wonderland, presenting the Victorian world as a generalized image of a society that suppresses the individual and naturally provokes protest.

‘Graphomania is a writer’s first and indispensable prerequisite’

The interview of E. Konstantinova with the prose and script writer and social activist L. Ulitskaya mainly focuses on the latter’s books, their origins and unique features and principles. In particular, Konstantinova brings up the fate of screen adaptations of Ulitskaya’s works, including the scripts for the episode A Hundred Buttons [Sto pugovits] in the almanac A Joyful Roundabout [Vesyolaya karusel] (1983) and for the cartoons The Toys’ Secret [Tayna igrushek] (1986) and A Lazy Dress [Lenivoe platie] (1987), which became a sort of springboard for her career in grown-up literature. Also mentioned are films: This Queen of Spades [Eta pikovaya dama] (2003), The Kukotsky Case [Kazus Kukotskogo] (2005), and others. As the interview was conducted remotely due to the pandemic, it also discusses the ways in which the novel coronavirus may change the world (if at all). Ulitskaya also shares her opinion on what a writer should do in these changing times.

Narrative and Linguistic Representation of Cornish Identity in Fiction and Screen Adaptations (the Case of Poldark)

This paper explores how Cornish national and regional identity is construed in works of fiction: W. Graham’s Poldark literary series (1945-1946) and its BBC screen adaptation (2015-2019). The research looks into the linguistic and narrative representations of nationalism and regionalism in Cornwall and demonstrates how Cornish national identity is represented. We focus on how the plot, the setting, and the means of characterization are employed to build a sense of Cornish national identity.

PECULIARITIES OF COMPREHENSION OF CHEKHOV’s WORKS IN SPAIN

The article deals with the process of comprehension of A.P. Chekhov's works in the Spanish culture. It’s based on Russian and foreign sources. The author of the article demonstrates the most significant moments in the understanding of the Russian writer by Spanish literary critics, theater directors and film directors. The article contains a brief overview of key periodicals and books, plays and film adaptations that illustrate the evolution of comprehension of Chekhov's works. Citations of Spanish culture figures, critics, translators and journalists are given by author's translation from their works and interviews. The article illustrates the period from the first mention of Chekhov's name in the Spanish press in 1894 to the nowadays. The author pays special attention to the first screen versions of the Russian playwright’s plays and the most eccentric experimental staging in the capital and provincial theaters of Spain.

Literary Analysis of 'Anna Karenina' on British Screen

The paper focuses on Anna Karenina, the famous masterpiece by Leo Tolstoy, and its latest screen versions. The fruitful collaboration, accomplished by two remarkable figures of contemporary British culture – the director Joe Wright and the playwright Tom Stoppard as a scriptwriter – was released in 2012. Since screen adaptation of classics, as well as any kind of remake, is undoubtedly challenging but nevertheless intriguing for both creators and viewers, it seems to be an exciting topic for research. The situation when a piece of great literature is transposed into a different medium, such as a film, commonly gives rise to fierce debates, which, in turn, becomes thought-provoking. What is more, the fact of making the film by the British crew basing on the Russian literary chef-d'oeuvre allows assuming the dialogue of cultures is implied in the considered work of cinematographic art. Thus, these aspects of Tolstoy's Anna Karenina and its interpretation and reception are highlighted in the study undertaken. Furthermore, the study intends to analyse and investigate this masterpiece's literary and morphological aspects from a unique perspective.

Under the Red White and Blue: Patriotism, Disenchantment and the Stubborn Myth of The Great Gatsby

Under the Red White and Blue: Patriotism, Disenchantment and the Stubborn Myth of <i>The Great Gatsby</i>

Sustaining Social Discourse through Screen Versions of Literary Works in Teaching the Second Foreign Language

Sustaining Social Discourse through Screen Versions of Literary Works in Teaching the Second Foreign Language

INTERPRETATION OF A.P. CHEKHOV’S STORIES IN THE ANIMATION OF THE END OF ХХ - BEGINNING OF ХXI CENTURIES

The problem of interaction of literature and animation is the central problem for the given article. On the example of screen versions of A.P. Chekhov’s stories, the author of research shows the processes typical for culture of postmodernism. The illustrative model of animation, typical for the Soviet period, is replaced by an interpretation model at the turn of the XX and XXI centuries. Modern animation is focused not so much on the transmission of Chekhov's storytelling plot, as on the comprehension of the author's intentions hidden in the text. The subject of a detailed analysis is cartoons by Natalia Orlova (“To Whom Shall I Tell My Sorrow”, “Kashtanka”), Sergei Seregin (“Whitebrow”), Alexei Demin (“Ochumelov”), Natalia Malgina (“Lawlessness”). In each of these cartoon films there is a deviation from the plot and a search for fundamentally new graphic solutions. Chekhov's eccentric is adequately embodied in animation, the language of which was originally focused on the "shift of meaning". The article also concludes that the destruction of communication, which defines Chekhov's creative method, is compensated by the ability of the camera to see through what has been said and to overcome the logocentric attitude of Russian culture after the writer.

Screening Social Justice: Performing Reparative Shakespeare against Vocal Disability

Abstract Many screen and stage adaptations of the classics are informed by a philosophical investment in literature’s reparative merit, a preconceived notion that performing the canon can make one a better person. Inspirational narratives, in particular, have instrumentalized the canon to serve socially reparative purposes. Social recuperation of disabled figures loom large in adaptation, and many reparative adaptations tap into a curative quality of Shakespearean texts. When Shakespeare’s phrases or texts are quoted, even in fragments, they serve as an index of intelligence of the speaker. Governing the disability narrative is the trope about Shakespeare’s therapeutic value. There are two strands of recuperative adaptations. The first is informed by the assumption that the dramatic situations exemplify moral universals. The second strand consists of adaptations that problematize heteronormativity and psychological universals in liberal humanist visions of the canon. This approach is self-conscious of deeply contextual meanings of the canon. As a result, it lends itself to the genres of parody, metatheatre, and metacinema. Through case studies of Tom Hooper’s King’s Speech, Cheah Chee Kong’s Chicken Rice War, and other adaptations that thematize vocal disorders, this article identifies a common trope in reparative performances of disability in order to highlight some questions the trope raises.

Screening Criteria for Colorectal Cancer for Patients with Type II Diabetes Mellitus

Colorectal cancer and diabetes mellitus represent a major public health issue, fi rst, by the number of new cases which are at an alarming rate. Secondly, by the negative effect over the quality of life, socio-economic status and lifespan, representing high morbidity and mortality causes. Diabetes Mellitus is the disease of the century with a global prevalence (standardised-age) which doubled since 1980, rising from 4.7% to 8.5% in adult population. In 2012, the estimated number of fatalities caused by diabetes mellitus and other related complications were at 3.7 million, out of which 43% were patients under the age of 70. Neoplasia represents the second cause of death, after cardiovascular disease. Colorectal cancer (CRC) ranks the 3rd regarding the global neoplasia incidence (10.2%) and the second regarding the mortality (9.5% of all cancer deaths). Colorectal cancer screening refers to the periodic evaluation of asymptomatic patients at risk of developing this neoplasia. Colorectal cancer has a number of peculiarities that make it ideal for screening. Since the end of the 19th century, the suspicion has been raised that diabetes mellitus has been involved, through directly etiological mechanisms, in carcinogenesis (breast, endometrium, colorectal, pancreas, liver, non-Hodgkin lymphoma). At the moment, there is already a consensus in the literature on the role of diabetes as an independent risk factor for colorectal cancer. However, despite the existence of numerous experimental evidence, epidemiological studies and meta-analyses, there is currently no adaptation of colorectal cancer screening for these patients. Material and method: Prospective case-control study conducted over a 2-year period including a number of 442 patients presented at „Dr. I Cantacuzino” Clinical Hospital, asymptomatic, who underwent lower digestive endoscopies in order to assess and defi ne using anamnestic, clinical and paraclinical criteria, the profi le of the patient with type II diabetes mellitus that should be given an endoscopic examination because diagnosing precursor lesions or even CRC is likely probable. Results: In the analyzed group, statistically signifi cant correlations (p&lt;0.05) were recorded between positive colonoscopy results (defi ned as precursor lesions – polyps- or tumors) and certain clinical characteristics (age, sex, BMI, duration of diabetes, type of antidiabetic treatment) and also paraclinical (reactive C protein and glycated hemoglobin). Conclusions: Criteria of patients with type II diabetes who have the maximum probability of developing colorectal cancer have been outlined. Thus this patient is more likely male, with a BMI &gt; 25, aged over 60 years, with an unbalanced diabetes mellitus counted by HbA1c &gt; 7 mg/dL, with over 5 years of diabetes evolution, in treatment with insulin most likely or combined insulin with oral antidiabetics and with an inflammatory biological profi le expressed by PCR&gt; 2 mg/dL threshold values.

Adaptation and Nostalgia

AbstractThis essay highlights the shared critical terrain of adaptation and nostalgia: how they critically juxtapose the past with the present, and how they underscore the impossibility of return while also relying on prior experience. It also explores nostalgia’s effect on personal responses to adaptations and its interaction with textual form. Drawing from various areas of literary, media, and performance studies, including film adaptations of children’s literature, Watchmen and its screen adaptations, and Disney’s live-action remakes, this essay underscores how both nostalgia and adaptation are inherently multivalent concepts, and how they each rely on perspective to generate critical meaning.

Increasing prevalence of HPV in oropharyngeal carcinoma suggests adaptation of p16 screening in Southeast Asia.

Human papillomavirus (HPV) is etiologically linked to increasing oropharyngeal squamous cell carcinoma (OPSCC) rates in the Western world. However, the role of HPV in Southeast Asia, a high incidence region, hasn't been assessed. 96 formalin-fixed, paraffin-embedded (FFPE) tissue blocks and corresponding patient data were obtained from Srinagarind Hospital, Thailand from 2012-2017. DNA from areas of 70 %+ cellularity were genotyped using polymerase chain reaction (PCR) and stained for p16, a surrogate marker for HPV. Inverse probability weights based on data from the hospital-based cancer registry were used in statistical analyses. Adjusted linear regression was used to assess changes in OPSCC HPV prevalence and conduct projections. Kaplan-Meier and Cox proportional hazard models were used to determine HPV-specific survival differences. 14 patients exhibited monoinfection with HPV16, two with HPV18 and one was HPV16/18 coinfected. PCR results were in agreement with p16 staining. On average, HPV + patients were more likely to have tonsil cancer (p-value:0.002). HPV prevalence increased by 2% annually (pvalue: 0.01), from 16 % in 2012 to 26 % in 2017. At the current rate, OPSCC HPV positivity will exceed 50 % by 2030. HPV positivity was shown to be protective in Kaplan-Meier (log-rank p = 0.02) and sex, age and stage adjusted Cox models (HR:0.34 [95 %CI:0.22, 0.52]). Given the increased prevalence and similarities in presentation of HPV + OPSCC to those observed in Western countries, the data suggest the adaptation of p16 staining and subsequent restaging of OPSCC tumors as suggested by the American Joint Committee on Cancer in Southeast Asia.

Новая телесность «Oттепели» в повести В. Аксeнова "Kоллеги" и ее экранизации

В статье рассматривается концепция телесности в повести Василия Аксенова Коллеги и одноименном фильме 1962 года режиссера Алексея Сахарова. Исследуются новые моменты презентации тела в эпоху «оттепели» – медикализация, эротизация, электронизация. Дефинируются три модели телесности в произведении и прослеживаются их трансформации в экранизации повести.

Screen Interpretations of Opera Classics

The study considers filmed versions of classical operas as an example of inter-art interaction. We compare film adaptation with such method of artistic activity as interpretation — the rendition of an opera by means of the cinema. The translation of the content of an opera into the screen language emphasizes the dialogic nature of a new, cinematic work. There is an analysis of the films based on the opera Female Hireling by composer Mykhaylo Verykivskyi by such domestic film directors as Iryna Molostova and Vasyl Lapoknysh, as well as the opera The Magic Flute by Wolfgang Amadeus Mozart directed by Ingmar Bergman (Sweden) and Kenneth Branagh (Britain). These films accentuate the main issue of film adaptation of an opera — the interpretation of an opera into a new artistic phenomenon. This type of screen adaptation is deemed quite controversial and insufficiently studied in domestic art history. The implementation of artistic methods of opera in other art inevitably affects the stylistic, formal unity of a newly created text. Intermediation as one of research methodologies of an artistic text is based on a number of popular theories about the synthetic nature of arts. The synthesis of the cinema with various literary genres, various kinds of arts, in particular operatic and theatrical ones, allows us to talk about intermediation not only as a methodology for analyzing a screen text but also as a specific way of constructing it. The purpose of the study is to determine the cinematic methods that have enabled the artistic synthesis of operatic and cinematic arts or were aimed by film directors at bringing the conventionality of opera as close as possible to the laws of the screen expression. The attention on the intermediate aspect of studying an artistic text, which is based on a number of currently popular theories about the synthetic nature of arts, was focused. The method of semiotically analyzing the texts of screen works is applied for studying their poly-code features — the creation of an artistic image by verbal and nonverbal components.Topicality, in both the 20th and the 21st centuries, the issues and ideas that have formed the basis of classical operas was proven. Rendering an opera piece of art into a new artistic phenomenon corroborates the opinion that a film opera diversifies the range of screen expressive means and proves its ability to exist as an independent cinematic genre.

Gendered Violence as Revelation in John le Carré’s &lt;em&gt;The Night Manager&lt;/em&gt;

Gendered Violence as Revelation in John le Carré’s &lt;em&gt;The Night Manager&lt;/em&gt;