Screen Adaptation in Modern Audiovisual Production

Abstract

The purpose of the article is to analyze the peculiarities of transferring a literary work to the screen; to determine the place of film adaptation in contemporary cinema; to explore the ways of screen adaptation and film adaptation of a literary work; to prove the importance of the process of intermedial reading of a literary work, to analyze the semiotic systems of literature and cinema to scientifically comprehend such a type of interaction between the arts as a screen adaptation; to reconsider the conventions, abstractness and homogeneity of literary signs and their opposite realism, concreteness, suggestiveness, and polyphony of film signs. Research methodology. The following methods were used: theoretical – to analyze the film adaptations of famous literary works and plays, information sources, generalize the impact of the information source on the quality of the translated material, and identify the factors of audiovisual discourse; empirical – to systematize my own experience, identify different ways of screen adaptation, and compare articles and monographs related to the results of the study of audiovisual art. Scientific novelty. For the first time, the main strategies of the relationship between cinema and literature are analyzed, and a detailed analysis of film adaptation as a source for new planes and perspectives is carried out. With the help of theoretical analysis, the main tasks of screen adaptation of the original source are identified. Conclusions. The article has analyzed the use of techniques that have significantly modified the normative strategies of writers. By analyzing the screened works, it has been determined that cinematicity is one of the dominant features of famous creators. The structural components and types of translation of literature to the screen are studied in detail. The importance of the process of intermedial reading of a literary work has been proved. The semiotic systems of literature and cinema have been analyzed with the aim of scientific comprehension of such a kind of interaction between the arts as screen adaptation. The conventions, abstractness and homogeneity of literary signs and their opposite realism, concreteness, suggestiveness, and polyphony of film signs are reviewed.