By Mireia Aragay
Books in movement addresses the hybrid, interstitial box of movie model. The introductory essay integrates a retrospective survey of the improvement of version stories with a forceful argument approximately their centrality to any background of culture-any dialogue, that's, of the transformation and transmission of texts and meanings in and throughout cultures. The 13 specifically composed essays that stick to, organised into 4 sections headed 'Paradoxes of Fidelity', 'Authors, Auteurs, Adaptation', 'Contexts, Intertexts, variation' and 'Beyond Adaptation', variously illustrate that declare by means of problematising the idea of constancy, highlighting the function performed through version in terms of altering ideas of authorship and auteurism, exploring the level to which the intelligibility of movie variations relies on contextual and intertextual elements, and foregrounding the necessity to go beyond any narrowly-defined thought of variation. dialogue levels from variations of validated classics like A story of 2 towns, Frankenstein, Henry V, Le temps retrouv?, Mansfield Park, satisfaction and Prejudice, 'The useless' or Wuthering Heights, to modern (popular) texts/films like Bridget Jones's Diary, Fools, The Governess, excessive constancy, The Hours, The Orchid Thief/Adaptation, the paintings of Doris D?rrie, the 1st Harry Potter novel/film, or the diversifications made through Alfred Hitchcock, Stanley Kubrick and Walt Disney. This booklet will attract either a specialized readership and to these gaining access to the dynamic box of edition stories for the 1st time. Mireia Aragay is Senior Lecturer in English literature and picture on the collage of Barcelona, Spain.
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Extra info for Books in Motion: Adaptation, Intertextuality, Authorship (Contemporary Cinema 2)
In this sense, we might say that film adaptations try to deny the multiplicity sanctioned by literary theory. Each new adaptation, I would argue, intends to erase the public memory of its predecessors rather than open a dialogue with them. While the reader mostly respects variety in interpretation, the adapter tries to validate a particular interpretation Performance in Peter Kosminsky’s Wuthering Heights 55 aided by the impact of the audio/visual medium s/he uses. The reader may reject an adapter’s particular version but can hardly answer back by producing a new film in the way that, for instance, scholars write new papers to debate their readings of Wuthering Heights.
Cartmell, D. (1999) ‘Text to Screen: Introduction’, in D. Cartmell and I. ) Adaptations: From Text to Screen, Screen to Text. London and New York: Routledge, 23-8. Cattrysse, P. (1992a) Pour une théorie de l’adaptation filmique: Le film noir américain. Frankfurt am Main: Peter Lang. —— (1992b) ‘Film (Adaptation) as Translation: Some Methodological Proposals’, Target: International Journal of Translation Studies 4 (1), 53-70. Cohen, K. (1979) Film and Fiction: The Dynamics of Exchange. New Haven and London: Yale University Press.
K. Rowling’s first Harry Potter novel, Harry Potter and the Philosopher’s Stone (1997), and its film adaptation, Harry Potter and the Sorcerer’s Stone (2001), this chapter tries to account for the seemingly anachronistic reviews of Chris Columbus’s first Harry Potter film. Undoubtedly, the announcement of the film, Harry Potter and the Sorcerer’s Stone—controversially, ‘Philosopher’ was changed to ‘Sorcerer’ in order to accommodate the American audience—boosted sales of the book. The books became, and still are, best-sellers, indeed the best-selling children’s books of all time, exceeding the sales figures of Roald Dahl (who, in turn, overtook Enid Blyton as the most popular children’s writer).
Books in Motion: Adaptation, Intertextuality, Authorship (Contemporary Cinema 2) by Mireia Aragay