This article scrutinizes Jeff VanderMeer’s novel Annihilation (2015) and its cinematic adaptation directed by Alex Garland (2018) with the aim of investigating the tensions between the weird and visualization. It argues that it is in the monstrous, weirding function of the medium in Annihilation that the weird persists. By engaging with Gilles Deleuze and Félix Guattari’s concept of becoming, I argue that the computer-generated imagery of the Annihilation film invites us to think of digital images themselves as monstrous – an articulation of the molecular, cellular, trans-species exchanges and mutations of the film, which sustains a movement towards becoming-imperceptible while becoming-visible. I argue that by releasing the monstrous, weird-making and world-making qualities of the literary and cinematic medium, the two works open us up to flowing articulations of the world that are not centred around the human but directed towards an appreciation of our existence in an incommensurable, incomprehensible, but nonetheless real and material, more-than-human embeddedness.
{"title":"Weird monsters and monstrous media: The adaptation of Annihilation","authors":"A. Giuliani","doi":"10.1386/jafp_00091_1","DOIUrl":"https://doi.org/10.1386/jafp_00091_1","url":null,"abstract":"This article scrutinizes Jeff VanderMeer’s novel Annihilation (2015) and its cinematic adaptation directed by Alex Garland (2018) with the aim of investigating the tensions between the weird and visualization. It argues that it is in the monstrous, weirding function of the medium in Annihilation that the weird persists. By engaging with Gilles Deleuze and Félix Guattari’s concept of becoming, I argue that the computer-generated imagery of the Annihilation film invites us to think of digital images themselves as monstrous – an articulation of the molecular, cellular, trans-species exchanges and mutations of the film, which sustains a movement towards becoming-imperceptible while becoming-visible. I argue that by releasing the monstrous, weird-making and world-making qualities of the literary and cinematic medium, the two works open us up to flowing articulations of the world that are not centred around the human but directed towards an appreciation of our existence in an incommensurable, incomprehensible, but nonetheless real and material, more-than-human embeddedness.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133945393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Free movement inside the internet universe and the ability to adapt to almost every culture they encounter enable monster creations to develop through this process of exploring cultures other than theirs. Perhaps this is one of the qualities that contemporary monster creations need to have in order to become and stay alive. In this article, I argue that the Slender Man myth seems to have adapted in terms of monstrosity in many cultures of the world, where its digital quality is its greatest strength and at the same time its greatest weakness in cultures that do not have the capacity or interest to create an equivalent to it. Instead, the lack of a digital aspect makes the folklore of these countries like the Balkan ones more significant, which sabotages the adaptation of digital monsters into a non-digital monster culture that prides itself on its traditional folk stories and legends, like the rich Balkan culture. These digital products in return end up lost within certain cultures, as they do not have the means or the capacity to develop and adapt because of the clash of the digital and the traditional.
{"title":"The clash of digital and traditional monsters: Slender Man adaptations and the Balkan culture","authors":"Tanja Jurkovic","doi":"10.1386/jafp_00094_1","DOIUrl":"https://doi.org/10.1386/jafp_00094_1","url":null,"abstract":"Free movement inside the internet universe and the ability to adapt to almost every culture they encounter enable monster creations to develop through this process of exploring cultures other than theirs. Perhaps this is one of the qualities that contemporary monster creations need to have in order to become and stay alive. In this article, I argue that the Slender Man myth seems to have adapted in terms of monstrosity in many cultures of the world, where its digital quality is its greatest strength and at the same time its greatest weakness in cultures that do not have the capacity or interest to create an equivalent to it. Instead, the lack of a digital aspect makes the folklore of these countries like the Balkan ones more significant, which sabotages the adaptation of digital monsters into a non-digital monster culture that prides itself on its traditional folk stories and legends, like the rich Balkan culture. These digital products in return end up lost within certain cultures, as they do not have the means or the capacity to develop and adapt because of the clash of the digital and the traditional.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"715 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125499079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Adapting Margaret Atwood: The Handmaid’s Tale and Beyond, Shannon Wells-Lassagne and Fiona Mcmahon (Eds) (2021) Cham: Palgrave Macmillan, 266 pp., ISBN 978-3-03073-685-9, p/bk, £24.99 ISBN 978-3-030-73686-6, e-book, £18.67
{"title":"Adapting Margaret Atwood: The Handmaid’s Tale and Beyond, Shannon Wells-Lassagne and Fiona Mcmahon (Eds) (2021)","authors":"Agnes Strickland-Pajtok","doi":"10.1386/jafp_00083_5","DOIUrl":"https://doi.org/10.1386/jafp_00083_5","url":null,"abstract":"Review of: Adapting Margaret Atwood: The Handmaid’s Tale and Beyond, Shannon Wells-Lassagne and Fiona Mcmahon (Eds) (2021)\u0000 Cham: Palgrave Macmillan, 266 pp.,\u0000 ISBN 978-3-03073-685-9, p/bk, £24.99\u0000 ISBN 978-3-030-73686-6, e-book, £18.67","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129643323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
American film remakes have enjoyed growing academic attention over the past 50 years. Together with prequels, sequels, reboots and spin-offs, they have been often viewed as exponents of contemporary recycling culture, symptomatic of Hollywood’s recent creative exhaustion and commercial risk aversion. In our article, we adopt a diachronic quantitative perspective to analyse and interpret the available metadata on 986 Hollywood remakes produced between 1915 and 2020. Our quantitative research shows the number of American remakes produced every year, their ratio in the total number of feature films produced annually, the percentage of remakes in the top most watched movies among the users of IMDb, as well as remake recency and percentage of remakes with titles recognizably linked to the original over the years. We find that popular convictions concerning the remarkable derivativity of contemporary American cinema stem from availability bias (accessibility of statistics concerning recent productions and relative neglect of historical data) and systemic differences in the function and prestige ascribed to feature film remakes by Old and New Hollywood filmmakers.
{"title":"Quantifying the remake: A historical survey","authors":"Miłosz Stelmach, Agata Hołobut, Jan Rybicki","doi":"10.1386/jafp_00079_1","DOIUrl":"https://doi.org/10.1386/jafp_00079_1","url":null,"abstract":"American film remakes have enjoyed growing academic attention over the past 50 years. Together with prequels, sequels, reboots and spin-offs, they have been often viewed as exponents of contemporary recycling culture, symptomatic of Hollywood’s recent creative exhaustion and commercial risk aversion. In our article, we adopt a diachronic quantitative perspective to analyse and interpret the available metadata on 986 Hollywood remakes produced between 1915 and 2020. Our quantitative research shows the number of American remakes produced every year, their ratio in the total number of feature films produced annually, the percentage of remakes in the top most watched movies among the users of IMDb, as well as remake recency and percentage of remakes with titles recognizably linked to the original over the years. We find that popular convictions concerning the remarkable derivativity of contemporary American cinema stem from availability bias (accessibility of statistics concerning recent productions and relative neglect of historical data) and systemic differences in the function and prestige ascribed to feature film remakes by Old and New Hollywood filmmakers.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115688979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Led by Thomas deployment of the Hollywood vampire as a multifaceted analogy for the larger, equivocal practice of adaptation, the self-reflexive trope of monstrosity emerging in the past decade anticipates what Kamilla has recently labeled as the need for conceptualizing adaptation as adaptation rather than via other disciplines. While Julie defines vampires, zombies and Frankenstein’s creature as canonical monsters, this article instead examines the figure of the non-western cannibal as a distinct analogy for assimilative adaptation. In order to establish the basis of cannibal adaptation’s productive indifference to questions of originality, fidelity and influence, I examine the history of the cannibal and the Latin American origins of cultural anthropophagy. The movement’s multiple revivals across different political moments and artistic genres illustrate its relevance for macroscopic studies of transmedial adaptation. Simultaneously appropriative and assimilative, the cannibal offers an alternative ethics for the process of adaptation.
{"title":"Cannibal adaptation or the trope of monstrosity","authors":"Frans Weiser","doi":"10.1386/jafp_00081_1","DOIUrl":"https://doi.org/10.1386/jafp_00081_1","url":null,"abstract":"Led by Thomas deployment of the Hollywood vampire as a multifaceted analogy for the larger, equivocal practice of adaptation, the self-reflexive trope of monstrosity emerging in the past decade anticipates what Kamilla has recently labeled as the need for conceptualizing adaptation as adaptation rather than via other disciplines. While Julie defines vampires, zombies and Frankenstein’s creature as canonical monsters, this article instead examines the figure of the non-western cannibal as a distinct analogy for assimilative adaptation. In order to establish the basis of cannibal adaptation’s productive indifference to questions of originality, fidelity and influence, I examine the history of the cannibal and the Latin American origins of cultural anthropophagy. The movement’s multiple revivals across different political moments and artistic genres illustrate its relevance for macroscopic studies of transmedial adaptation. Simultaneously appropriative and assimilative, the cannibal offers an alternative ethics for the process of adaptation.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115299745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Viral Shakespeare: Performance in the Time of Pandemic, Pascale Aebischer (2021) Cambridge: Cambridge University Press, 75 pp., ISBN 978-1-10894-796-1, p/bk, £15.00
{"title":"Viral Shakespeare: Performance in the Time of Pandemic, Pascale Aebischer (2021)","authors":"Francesca Forlini","doi":"10.1386/jafp_00084_5","DOIUrl":"https://doi.org/10.1386/jafp_00084_5","url":null,"abstract":"Review of: Viral Shakespeare: Performance in the Time of Pandemic, Pascale Aebischer (2021)\u0000 Cambridge: Cambridge University Press, 75 pp.,\u0000 ISBN 978-1-10894-796-1, p/bk, £15.00","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"2491 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131201213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this article is to investigate the additional layer of text on screen present in Eugene Kotlyarenko’s Spree (2020) and explore the translator’s perspective on the incorporation of such elements. The article discusses the participatory chat messaging systems accompanying live video of today and attempts to place them within an existing framework of text on screen as understood in audiovisual translation (AVT) and media accessibility (MA) studies as well as previous screen productions. The relationship between audience involvement and presence of modes of AVT is then explored to better highlight the importance of translation in audience reception. The authors characterize dynamic chat elements in the analysed movie to point to potential implications that further incorporation of elements of massive chat into filmic narratives might have for conventional modes of AVT, in particular for subtitling.
{"title":"The expanding role of text on screen: Subtitling Eugene Kotlyarenko’s Spree","authors":"Kacper Kupisz, M. Deckert","doi":"10.1386/jafp_00078_1","DOIUrl":"https://doi.org/10.1386/jafp_00078_1","url":null,"abstract":"The aim of this article is to investigate the additional layer of text on screen present in Eugene Kotlyarenko’s Spree (2020) and explore the translator’s perspective on the incorporation of such elements. The article discusses the participatory chat messaging systems accompanying live video of today and attempts to place them within an existing framework of text on screen as understood in audiovisual translation (AVT) and media accessibility (MA) studies as well as previous screen productions. The relationship between audience involvement and presence of modes of AVT is then explored to better highlight the importance of translation in audience reception. The authors characterize dynamic chat elements in the analysed movie to point to potential implications that further incorporation of elements of massive chat into filmic narratives might have for conventional modes of AVT, in particular for subtitling.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121065584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The year 2021 marked the seventieth anniversary of the publication of J. D. Salinger’s The Catcher in the Rye, and the sixtieth of what is to date the only film adaptation of the novel. In 1961 the 22-year-old Krzysztof Zanussi made from behind the Iron Curtain, a short film entitled Holden, which referred directly to the novel’s characters and events. He did this despite Salinger’s ban on any form of adaptation of his work. The film, although faithful to the source novel, had a perversely Polish flavour. This article takes a translation studies approach to the discussion of how the specific sociopolitical circumstances in which the adaptation was made resonate in Zanussi’s picture. The focus is on the ways in which the concept of an imaginary America, so vivid and emotionally powerful among the Polish youth of the 1960s, determined the film’s narrative and domesticated the source text.
{"title":"The catcher in an imaginary America: The perverse domestication of American reality in Krzysztof Zanussi’s Holden (1961)","authors":"Jolanta Szymkowska-Bartyzel","doi":"10.1386/jafp_00080_1","DOIUrl":"https://doi.org/10.1386/jafp_00080_1","url":null,"abstract":"The year 2021 marked the seventieth anniversary of the publication of J. D. Salinger’s The Catcher in the Rye, and the sixtieth of what is to date the only film adaptation of the novel. In 1961 the 22-year-old Krzysztof Zanussi made from behind the Iron Curtain, a short film entitled Holden, which referred directly to the novel’s characters and events. He did this despite Salinger’s ban on any form of adaptation of his work. The film, although faithful to the source novel, had a perversely Polish flavour. This article takes a translation studies approach to the discussion of how the specific sociopolitical circumstances in which the adaptation was made resonate in Zanussi’s picture. The focus is on the ways in which the concept of an imaginary America, so vivid and emotionally powerful among the Polish youth of the 1960s, determined the film’s narrative and domesticated the source text.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130669134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Roaming the greenwood: On E. M. Forster’s Maurice and William di Canzio’s Alec","authors":"Tom Ue","doi":"10.1386/jafp_00082_7","DOIUrl":"https://doi.org/10.1386/jafp_00082_7","url":null,"abstract":"","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115374404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
William Saroyan’s novel The Human Comedy () may be the first significant American novel adapted from a screenplay. The author had been contracted to create a film for MGM, but with representative Hollywood chicanery, Saroyan was done out of his manuscript and had to settle for a mere ‘from the story by’ credit. No film crystallizes the MGM vision of America while implying the promises of readjustment to come when the war is over more completely than The Human Comedy. Louis B. Mayer believed it was the greatest film ever produced by MGM. It had a tremendous impact at the time; even critics who lambasted its sentimentality could not deny its melodramatic power. In a marketing twist, the film was advertised as being based on ‘Saroyan’s great novel’ even though the novel had not yet been published. The film may be dated and neglected, but the novel remains in print and is among Saroyan’s most important works. The film and novel retain the screenplay’s extensive dialogue and both raise questions about cinematic and literary narrative.
{"title":"William Saroyan’s The Human Comedy and MGM’s vanished American pastoral","authors":"Thomas F. Connolly","doi":"10.1386/jafp_00077_1","DOIUrl":"https://doi.org/10.1386/jafp_00077_1","url":null,"abstract":"William Saroyan’s novel The Human Comedy () may be the first significant American novel adapted from a screenplay. The author had been contracted to create a film for MGM, but with representative Hollywood chicanery, Saroyan was done out of his manuscript and had to settle for a mere ‘from the story by’ credit. No film crystallizes the MGM vision of America while implying the promises of readjustment to come when the war is over more completely than The Human Comedy. Louis B. Mayer believed it was the greatest film ever produced by MGM. It had a tremendous impact at the time; even critics who lambasted its sentimentality could not deny its melodramatic power. In a marketing twist, the film was advertised as being based on ‘Saroyan’s great novel’ even though the novel had not yet been published. The film may be dated and neglected, but the novel remains in print and is among Saroyan’s most important works. The film and novel retain the screenplay’s extensive dialogue and both raise questions about cinematic and literary narrative.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124809663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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