- Home
- A-Z Publications
- Journal of Adaptation in Film & Performance
- Previous Issues
- Volume 2, Issue 2, 2009
Journal of Adaptation in Film & Performance - Volume 2, Issue 2, 2009
Volume 2, Issue 2, 2009
-
-
Adapting the Literature of the Double: manifestations of cinematic forms in Fight Club and Enduring Love
More LessThis article examines the relationship between the film adaptations Fight Club (David Fincher 1999) and Enduring Love (Roger Michell 2004) in their attempt to transfer to the screen the theme of the double or to suggest relevant implications about the psychological condition of the characters. The analysis develops within the framework of interpretation processes that are relevant to cinema's ontology and form; thus it focuses on the cinematic codes that each film employs in order to construct a consistent style. This leads to a discussion which activates and suggests ways of reading the relationship between an adaptation and its source text by emphasizing the significance of form, style and cinematic space.
-
-
-
Dogmatic Shakespeare: a recognition of ghostly presences in Thomas Vinterberg's Festen and Kristian Levring's The King is Alive
More LessThis article explores the relationship between a number of film products of the Dogme New Wave and the various intertexts at play in their creation; it poses questions about the very nature of adaptation and the interplay between so-called precursory texts and their seemingly adapted offspring. In particular, it interrogates the ways in which Vinterberg's Festen (1998) and Levring's The King is Alive (2000) echo, at a conscious or a subconscious level, performative and ideological facets of Shakespeare's Hamlet (1601) and King Lear (1608) respectively.
-
-
-
KILL ME SENTIMENT: V For Vendetta and comic-to-film adaptation
More LessThis article historicizes the emergence of the super-hero film genre, placing the recent surge in numbers of comic-to-film adaptations in the context of commercial strategy, and in relation to perceptions of comics' artistic validity. It argues that significant differences in production and reception between the media of comic book art and film need to be addressed in processes of adaptation, and that adaptations that do not address these features can be reductive of complexity, and even censorious. A survey of the phenomena establishes the terms of investigation, which are subsequently applied to Alan Moore and David Lloyd's V For Vendetta (1990). Analysis problematizes the model of comic-to-film adaptation which the film presents, on the basis that it rehearses and supports the limiting cultural perspectives which comic book artists have worked to escape.
-
-
-
Metadaptation: Adaptation and Intermediality Cock and Bull
More LessThis article explores the usefulness of the term intermediality to account for hybrid intermedia and interart practices at the core of adaptation. Engaging with A Cock and Bull Story (2005), Michael Winterbottom's film adaptation based on Sterne's Tristram Shandy (175967), the analysis skirts the difficulties signaled by the terms fidelity, literature, taxonomy, and evaluation. Instead, the paper's method is based on isolating the levels of mediality, transmediality and intermediality. It holds that Winterbottom's film adaptation of a foundational metafiction lays bare the specific mediality not only of literature and film. The movie's system contamination is focused on the in-between process of adaptation. It follows that metadaptations (i.e., texts that foreground their own adaptive processes) constitute a heuristically rich subgenre among adaptations.
-
-
-
The Aesthetic Uncanny: staging Dorian Gray
More LessThis article discusses my theatrical adaptation of Oscar Wilde's The Picture of Dorian Gray (1891) for the Edinburgh Festival Fringe (2008). Freud's concept of the uncanny (1919) was treated as a purely aesthetic phenomenon and related to late nineteenth century social and literary preoccupations such as Christianity, the supernatural and glamorous, criminal homosexuality. These considerations led to a conceptual ground plan that allowed for experiments during rehearsal in a form of theatrical shorthand.
-
-
-
Reviews
Authors: Christophe Collard, Mark O'Thomas, Ben Poore and Toni SantAuthorship in Film Adaptation. Jack Boozer (ed.) (2008) Austin: University of Texas Press, 341 pp., ISBN 978-0-292-71853-1, Paperback, $27.95.
The Production Notebooks: Volume 1, Mark Bly (1997) New York: Theatre Communications Group, 238 pp., ISBN 978-1-5593-6110-1, Paperback, 18.99
Screen Adaptations: Charles Dickens' Great Expectations: The Relationship between Text and Film, Brian McFarlane, (2008), First edition London: Methuen, 188 pp., ISBN 978-0-7136-7909-0, Paperback, 12.99
Intermediality in Theatre and Performance, Freda Chapple and Chiel Kattenbelt eds., (2007), 3rd Edition Amsterdam / New York: Rodopi, 266 pp., ISBN 978-90-4201-6293, Paperback, 54.00 / 38.57 / US $73.00
-
Volumes & issues
Most Read This Month
Most Cited Most Cited RSS feed
-
-
Editorial
Authors: Richard Hand and Katja Krebs
-
- More Less