The Great Gatsby meets Alain Badiou: Rethinking Fidelity in Film Adaptation (original) (raw)
Related papers
An Analytical Study of 2013 Cinematic Adaptation of The Great Gatsby
Comparative Literature is categorized among interdisciplinary studies and tries to bridge a gap between different and separated spheres of human studies. Adaptation studies is a subdivision of Comparative Literature that makes a bond between Literature and Cinema. Both Literature and Cinema are two different mediums or different means of expression. Each has its own language to convey meaning. While novel uses words, cinema uses visual and aural images to convey meaning. Linda Hutchean is a famous adaptation theorist and her theories are used by many critics. She categorizes four different parts for her theory. What? Who and Why? How? When and Where? Through these four main parts, she scrutinizes adaptation process. What, refers to the form, changes, gains and losses, using different tools to convey meaning. Who, refers to the adapter. She poses this question that in adaptation process who is the real adapter? Director, composer, screenplay writer or editor? Why, refers to the motivation of the adapter. She tries to find out different motivation of an adapter to adapt a work. When and Where, refers to the time and place of the adaptation process and its influence both during creation and reception process. In this article all of these four main parts of Hutcheon’s theory are scrutinized over 2013 adaptation of The Great Gatsby by Buz Luhrmann. Similarities and differences between a novel and film are illuminated through this research. By determining differences between a film and a novel, hidden and unhidden aspects of the novel will be illuminated and this is a pleasure that a comparatist seeks.
Textual elements of The Great Gatsby
2022
Peer-review declaration The publisher (AOSIS) endorses the South African 'National Scholarly Book Publishers Forum Best Practice for Peer-Review of Scholarly Books'. The book proposal form was evaluated by AOSIS Scholarly Books' Social Sciences, Humanities, Education and Business Management editorial board. The manuscript underwent an evaluation to compare the level of originality with other published works and was subjected to rigorous two-step peer-review before publication by two technical expert reviewers who did not include the author and were independent of the author, with the identities of the reviewers not revealed to the author. The reviewers were independent of the publisher and author. The publisher shared feedback on the similarity report and the reviewers' inputs with the manuscript's author to improve the manuscript. Where the reviewers recommended revision and improvements, the author responded adequately to such recommendations. The reviewers commented positively on the scholarly merits of the manuscript and recommended that the book be published. v Research justification This book, The Great Gatsby meets Alain Badiou: Rethinking fidelity in film adaptation, occupies the disciplinary field of adaptation studies, an interdisciplinary field located at the intersection of literary studies, cultural studies and film studies. Its intended audience is scholars of film adaptation and F Scott Fitzgerald scholars. It considers the Hollywood film adaptations of F Scott Fitzgerald's The Great Gatsby (1925) in light of philosopher Alain Badiou's theorisation of fidelity and truth, as well as his theoretically informed writings on cinema as a form. Although this book has grown out of my PhD thesis in Media and Cultural Studies and a previously published 2018 article, I affirm that at least 50% of the work has not been previously published. The book represents original research. No part of the book has been plagiarised from another publication or published elsewhere, and it has undergone an iThenticate similarities check.
Scott Fitzgerald’s The Great Gatsby: Critical Reception and Visual Interpretation
The thesis explores how the literary status of Fitzgerald’s novel published in 1925 evolved from being dismissed to becoming a canonical work of American Literature after the death of its author. The role of criticism and adaptations and how they intertwined to popularize the novel among the academic elite and the general public is examined. Four critical studies in different decades of recent history are analyzed to show the different approaches to the novel as well as its relation to the American Dream. The thesis suggests that the four critical studies discussed reflect viewpoints impacted by the cultural and socio-economic factors that marked the decade of their appearance: Kermit Moyer (1973), Ross Posnock (1984), Ray Canterbery (1999), and Benjamin Shreier (2007). Their approaches demonstrate the many ways The Great Gatsby can be viewed and thus its richness as a text. The three film adaptations of the novel in turn depict directors’ take on the novel as well as exhibiting the limitations, predilections, and technical possibilities of the time of their production: Nugent’s (1949), Clayton’s (1974), and Luhrmann’s (2013). The controversial aspects of these adaptations as indicated by reviews and articles, which evaluate them as to how they present Gatsby and the American Dream, have increased the debate and the interest in the novel. Though the novel is located in the U.S. in the Roaring Twenties associated with the Jazz Age, it continues to speak to present audience by evoking issues related to class, mobility, ethics, and romance.
The implementation of symbolism in Baz Luhrmann's adaptation of The Great Gatsby
The implementation of symbolism in Baz Luhrmann's adaptation of "The Great Gatsby", 2022
The Great Gatsby, by F. Scott Fitzgerald, is extremely well known not only due to its high level of literary excellence, but also as a consequence of Fitzgerald's superb usage of literary devices. More specifically, he used symbolism to his advantage in order to enhance the level of his most popular piece. The novel has grown to be well known to the extent that it was adapted into films multiple times. However, little research has been done to determine the quality in which the most recent of these adaptations, directed by Baz Luhrmann, has used symbolism as a part of the film's plot to implement the most characteristics possible from the original novel. Consequently, this paper has been put together in order to fill such gaps in the literary field and answer the question "to what extent is the symbolism in the Great Gatsby book accurately represented in Baz Luhrmann's adaptation?". Through the deep analysis of both the film and novel, aside from the creation of a comparative analysis table, it is evident that symbolism is successfully implemented in the newest version of The Great Gatsby motion picture, specifically through the use of element positionnement and narration of each scene containing the literary device.
A Study of The Great Gatsby: Devices of Inspiring Imagination
2018
The purpose of this study is to demonstrate Fitzgerald's greatness as a fiction writer and accordingly the value of his novel, The Great Gatsby. The secret of his creating fiction is not the detailed description, but the empty space which he left in the novel. The unidentified elements are what Fitzgerald intended to make, and as a result, the novel holds some ambiguity. However, a lack of detailed description never decreases the quality as a fiction, but rather elicits a fascinating effect on the novel. The author paid attention to this mysterious phenomenon, and tried to reveal it by considering his sense of creation as a fiction writer.
THE FILM ADAPTATION OF GREAT GATSBY (2013 VERSION) A DESCRIPTIVE STUDY OF AVT UNDER SKOPOS THEORY
H A DESCRIPTIVE STUDY OF AVT UNDER SKOPOS THEORY, 2020
The subject matter of this book (which is produced from the master thesis of the author in 2017 with the title of The Depiction Of Jazz Age With The Film Adaptation Of The Great Gatsby: A Descriptive Study On 1920s Cultural Reflections In Turkish Subtitles Of The Film Under Skopos Theory) is the cultural depiction of Jazz Age with the subtitle translation of Great Gatsby’s film adaptation from English into Turkish and to get its historical, sociocultural and moral hints across via Skopos Theory’s six basic rules. Before the film adaptations, the work created in the form of novel by Scott Fitzgerald and published in 1925. In this context, an audiovisual translation research was aimed to be held over a literary-rooted source text which is referred as one of the milestones of American Literature by the principles of Skopos Theory. Translators are supposed to find the ‘skopos’ of the translation before translating the source text according to Skopos Theory. In this study; the transmission of historical events, sociocultural developments and moral issues which are touched with various subtitles such as faith, family, economic state and so forth; serve as a backbone in the translation of the film analyzed in respect of the presentation of The Jazz Age in 1920s. The skopos of the subtitle translation of the film was found out to be as historicizing on behalf of keeping the original texture of the subtitles and depicting the roaring 1920s with its warts and all.
Adaptation is prominent in many facets of the creative industries, such as the performing arts (e.g. theatre, opera) and various forms of media (e.g. film, television, radio, video games). As such, adaptation can be regarded as the creative translation of a narrative from one medium or mode to another. This paper focuses on film adaptation and examines its role in cultural production and dissemination within the broader polysystem (Even-Zohar 1978a). Adaptation has been viewed as a process which can shed light on meaningful questions on a social, cultural and ideological level (cf. Casetti 2004; Corrigan 2014; Venuti 2007). Nevertheless, an integrated framework for the systematic analysis of adaptations seems to have remained under-researched. The paper puts forward a model for adaptation analysis which highlights the factors that condition adaptation as a process and as a product. In this way, adaptation is studied as a system monitored by economic, creative and social agendas which nevertheless transforms the communicating vessels of the literary system and the film industry. To illustrate this, the paper discusses how the two systems and various creative and socioeconomic considerations interlace in the latest film adaptation of The Great Gatsby (Luhrmann 2013). It concludes on the benefits of a holistic approach to adaptation.
F. Scott Fitzgerald’s the Great Gatsby an Analysis of the Novel as a Tragic Romance
2019
This research explores the displacement of romance by tragedy in Scott Fitzgerald’s novel The Great Gatsby . Taking its theoretical bearings from the archetypal approach developed by Northrop Frye, supplemented by insights borrowed from Georg Lukacs, Aristotle, Hegel and many other scholars, the research aims to show how the romantic hero lands in a tragic situation because of his belief in ideals that are no longer viable in the consumerist American society of the 1920s. Among other arguments, it also seeks to illustrate how The Great Gatsby plays a thematic and stylistic variation on romance such as Shakespeare’s Midsummer Nights’ Dream and tragedy as elaborated around the House of the Atreus by Greek playwrights like Sophocles, Euripides and Aeschylus. Keywords: The Great Gatsby, Displacement, Romance, Tragedy, Shakespeare, Greek Tragedy.
Film Adaptation as Translation: On Fidelity
2015
As old as the machinery of film itself, literary texts have continually informed cinematic adaptations. The interaction of two discrete media evokes questions pertaining to the nature of adaptations. Are they a new text or is a text purely 'textual'? In light of adaptation theory and the history of cinema, this paper offers a brief assessment of this phenomenological inquiry. 'Fidelity' to the source literary text has conventionally been the primary criterion for assessing a film adaptation. This paper also explores this assumption and its transformation in the postmodern world.
A Penny for the Old Guy: Exploring The Mythological Framework of Fitzgerald’s The Great Gatsby
Fitzgerald’s Jazz Age was turbulent. The sobering “Death of God” in Nietzsche’s philosophical wake, the Great War, a suddenly roaring economy and the infamous prohibition all contributed to The Great Gatsby, a novel which centers on the American subject’s autopoiesis amidst drifting continents of categorical reality. The beginning of the Modernist age was fraught with a fragmented, spiritual ennui, and many thinkers, instead of aspiring to Christian-influenced transcendental philosophy, plunged the dark depths of the subconscious frontier. Notably, Carl Jung’s Psychology of the Subconscious, which bravely spelunked the mythical heart of human thought and culture, was published in English in 1916. The publication of Fitzgerald’s novel introduced a new species of man, one with a “heightened sensitivity” (Fitzgerald, 49) to complexified life. As Robert Berman intuits, “Fitzgerald relies on a montage for the same reasons as modernist painters. There is no innate principle of composition” (The Great Gatsby and Modern Times, 90). Although there existed no innate principle, all paintings require raw material. Fitzgerald’s Modernist writing describes and arranges a fragmented reality, but in those fragments is retained a deep mythical significance.