FROM MOVIE SCRIPT TO NOVEL (original) (raw)
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Film Philology: The Value and Significance of Adaptation/Film Studies in Literature
Kültür Araştırmaları Dergisi (KAD), 2022
Adaptation/film studies receive a growing interest in literature as more scholars take up articles to produce authentic research. Due to its interdisciplinary and intertextual nature, adaptation/film studies provide scholars of humanities the means to create preliminary works never published before. This article articulates the importance of adaptation/film studies in literature and calls upon philologists to become actively engaged in the field of adaptation/film studies. Initially, the study defends the view that film is a form of art, no different from works of literature. The article also examines adaptation/film studies with the intermediary function of building bridges between literature and cinema by looking into forerunners and analysing the mutual relationship between these two spheres. The study then scrutinises adaptation/film studies in western academia by exploring the most influential names and tendencies. Finally, the article draws a brief outline of adaptation/film studies in Turkish scholarship and delivers a concise overview of the most productive scholars and their works in this area of research. The research concludes by highlighting the importance of adaptation/film in philology and urging scholars of the humanities to become involved in generating film analyses particularly through the critical lens of literary theory. All in all, the article advocates the necessity and widespread application of film philology in literature.
MOLESTO, 2019
ÖZ Bu çalışmada, Halid Hüseyin'in Uçurtma Avcısı adlı romanı ile aynı isimle gösterime giren sinema uyarlamasının bir analizi sunulacaktır. Çeviribilimsel bir bakış açısıyla ele alındığında göstergelerarası bir yaklaşımın ürünü olarak karşımıza çıkan bu analiz, "yazılı bir kaynak metin, farklı bir gösterge sistemine uyarlandığında çeviri söylemi açısından neler ifade etmektedir?" sorusunun yanıtını aramaktadır. Bir başka ifadeyle, disiplinler arası bir yaklaşım ile uyarlama çalışmaları, söylem analizi ve göstergelerarası çeviri konularına değinen bu araştırma, farklı ürünlerin alımlanışını biçimlendiren söylemsel göndermeler üzerine yoğunlaşmaktadır. Farklı metin üretici öznelerin, aynı kaynak metni nasıl farklı erek metinlere dönüştürdüğünü gözler önüne seren bu yazıda, roman kaynak kitap, sinema filmi ise onun bir çevirisi olarak ele alınacaktır. Bu iki metin karşılaştırmalı olarak, Çeviribilim alanının yaygın kullanılan sadakat, manipülasyon, metne müdahale gibi paradigmaları üzerinden analiz edilecektir. Edebiyat ve sinema alanlarının özgün şartları da göz önüne alınarak ayrı kültür hinterlandına sunulan bir çeviri ve kaynak metin karşılaştırması yapılacaktır. Anahtar Kelimeler: göstergelerarasılık, söylem analizi, sinema çevirisi, edebi çeviri ABSTRACT In this study, the novel The Kite Runner (2003) by Khaled Hosseini and its film adaptation, presented with the same title, is analyzed. From a translational point of view, this intersemiotic study questions the references of the rendering of a verbal source text into a different semiotics system. In other words, the study dwells upon an interdisciplinary approach, integrating discourse analysis, and intersemiotic translation, and concentrates on the discursive references that govern the reception of the relevant works. Revealing how different agents of text production might turn the same source text into different target texts, the study views the novel as the source text and its film adaptation as the target text. Accordingly, the original and translated texts are elaborated with references to the prevailing concepts of Translation Studies such as fidelity, intervention, manipulation within a comparative paradigm of source vis-à-vis the target text. ABSTRAIT Dans cette étude, le roman Le Cerf-Volant De Kabul (2003) de Khaled Hosseini et son adaptation filmique, présenté avec le même titre, est analysé. D'un point de vue translationnel, cette étude interroge les références du rendu d'un texte source verbal dans un système sémiotique différent. En d'autres termes, l'étude porte sur les études d'adaptation, l'analyse du discours et la traduction intersémiotique avec une approche interdisciplinaire, et se concentre sur les références discursives qui régissent la réception des oeuvres pertinentes. Révélant comment différents acteurs de la production de texte pourraient transformer le même texte source en différents textes cibles, l'étude considère le roman comme le texte source et l'adaptation filmique comme le texte cible, et les analyse à partir des perspectives dominantes des études de traduction telles que la fidélité, intervention, manipulation dans un paradigme comparatif de la source par rapport au texte cible. Mots-clés: intersémiotique, analyse du discours, traduction cinématographique, traduction littéraire.
A Comparative Study of Cinematic Texts vis-à-vis the Literary Texts
JRSP-ELT (ISSN: 2456-8104), 2021
Literature and cinema have always been vibrant mediums for expression. Their touching and moving appeal has made them popular across regions and time periods. However, despite their wide appeal, both literature and cinema are two different forms of art with varying audience and requirements. This paper aims to uphold a comparison between literature as a medium of communication and cinema as a medium of portrayal. The study takes into account few case studies to highlight the differences in the same text in relevance to the medium they are in. It also attempts to analyze the various techniques used in the two media to reach out to the audience or readers and tries to find out the effects and differences of the cinematic text and literary texts. The paper also briefly looks into the concepts of adaptation from one media to the other and highlights the benefits and drawbacks of both the media. Finally, the paper takes up a study of the influence of literature and cinema over one another, concluding with a comparison of their popularity across time and space.
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.
Istanbul University Journal of Translation Studies, 2023
After introducing his translation typology as intralingual, interlingual, and intersemiotic translation, Roman Jakobson brought a novel approach to the study of translation, which was long accepted as an only linguistic activity with the final one. However, little has been said about the nature of intersemiotic translation after him, and it has been neglected. Even though adapting a novel to screen recently gained momentum as a standalone discipline, it can be classified as intersemiotic translation since it corresponds to Jakobson’s categorisation. Hence, this paper aims to argue that adaption can be a modality of intersemiotic translation and a model proposed by Katerina Perdikaki (2016) will be employed to do so. Taking its base from van Leuven-Zwart’s (1989) taxonomy, this model has descriptive/comparative categories, Plot Structure, Narrative Techniques, Characterisation, and Setting. For this study, the model was applied to the film adaptation of The Da Vinci Code. As the results indicated this model is helpful in analysing and identifying shifts across the categories of Plot Structure, Narrative Techniques and Setting, and the category of Plot Structure has the most shifts with a total of 148. It is also observed that the Characterisation category needs more tailoring as it cannot respond to some shifts identified.
Narrative enunciation in film is a signifying practice by means of which the subjectivity of a narrative discourse is constructed. The narrative art is closely linked with different modes of narrative enunciation or story telling techniques, it can be first/third person narrative, author surrogate, audience surrogate, magic realism, stream of consciousness technique etc. All these means of narrative techniques are used to establish certain perspective of the author, the way author wants to present facts and events that surrounds the story line or plot structure. Standing at the crux of a time when the very concept of cinema as a photographic transcription of reality or some pre-existing reality as it happened with the invention of 'cinematographe' by Edwin S Porter, has been taken to task, cinema has truly emerged as a vital instrument for uncovering silences within different social systems. Cinema when considered as the most powerful weapon to mobilize viewers, narrative or story line has been proved to be the most essential component for creating a unique bond between the spectator and the director or author of the film. Narrative or story-line when adapted from popular literature, especially novel, the point of divergences ie, differences in perspectives or representation of reality, both by the writer and the director is quite rampant. And those differences are considered as director's signature, certain marked quality that will distinguish the director from the author. Also, the manner in which the preconceived notion of audience as a passive recipient is subverted will be discussed which helped create a new meaning not only for the film makers or for the audience rather for the film industry or market as well. A series of classical movies which are adaptations either from popular pieces of literature, be it novel, drama or short story, will be discussed to identify the areas of divergences or deviations and thus to establish a different point of perspective altogether. The research methodology would be content analysis.
A Companion to Literature, Film, and Adaptation
Poetics Today, 2014
This volume comprises twenty-three articles on the aesthetics and mechanics of movie adaptation, "from the very beginning of cinema to the current day, covering historical, ideological, economical, and different theoretical approaches, ranging from the canonical to popular literary and film texts within the ever-expanding mediasphere" (8). Deborah Cartmell's introduction surveys the history and the problems of "adaptation studies." Then, in part 1, "History and Contexts: From Image to Sound," the first four articles deal with adaptations in the silent film. Judith Buchanan examines a sample of early silent films (since 1907) based on novels or plays and adaptations made after the transition to feature film (1913). In major cinema theaters, between 1907 and 1912, "lecturers," or "narrators," supplied a commentary on the films, and then their aid gave way to numerous "self-explanatory" literary adaptations in the second half of the silent era (1913-27). Gregory Robinson tells the fascinating story of intertitles in silent films: their conventional uses (conveying expositional data and dialogues, providing continuity) and the experimentation with their features and functions, compared with both commercial and experimental films later on (for example, by Michael Snow or Quentin Tarantino). Robinson also discusses the different styles of notable "title writers," such as Anita Loos, H. M. "Beanie" Walker, and Ralph Spence. Richard J. Hand's article turns to various (proto)modernist artists of the late nineteenth century and early twentieth century who experimented with intermedial adaptation, more or less successfully. These include Thomas Hardy's, Henry James's, and Joseph Conrad's adaptations of their novels into plays or films and