Pub Date : 2019-02-01DOI: 10.3366/edinburgh/9781474413565.003.0005
Casie E. Hermansson
This chapter shifts attention to examples and techniques of children’s metafilm, to show how the ‘meta’ level works on film and the many techniques such films effectively employ for youth audiences. This chapter describes major types of children’s metafilms and a ‘grammar’ of select self-reflexive devices to generate metalepsis, using examples both from adaptations and otherwise. This chapter discusses metafilm as both medium-specific equivalence of metafiction, and as a paradoxical equivalence as it replaces the medium in the mirror for another. The chapter concludes with a close comparative study of Inkheart and of The Spiderwick Chronicles focusing on both narratives’ character development from reader to author in the source texts and how this is represented in their metafilmic adaptations.
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Pub Date : 2019-02-01DOI: 10.3366/edinburgh/9781474413565.003.0006
Casie E. Hermansson
This chapter concludes the book by identifying a subset of film adaptations of children’s metafictions that function as meta-adaptations. Although scholarly work on meta-adaptation is still emergent, it is clear that children’s genres already engage this mode. The chapter argues that while ‘metafilm’ is a problematic ‘equivalence’ for metafiction, meta-adaptation lifts the curtain on the otherwise-hidden processes of adaptation itself. The chapter presents the phrase ‘breaking the fifth wall’ for meta-adaptation. The chapter provides case studies of two book to film adaptations to illustrate two different but prominent types of meta-adaptation: The Invention of Hugo Cabret/Hugo, and the novel series A Series of Unfortunate Events and both the novels’ film adaptation and Netflix series (season 1).
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Pub Date : 2019-02-01DOI: 10.3366/edinburgh/9781474413565.003.0002
Casie E. Hermansson
As ‘children’s metafiction’ is the source text genre for adaptations under consideration, this chapter seeks to analyse it closely in order to suggest how it presents unique challenges to intermedial adaptation. The chapter is organized around the ‘what,’ ‘how,’ and ‘why’ of children’s metafiction to determine what metafiction purports to be and to do for young readers. It presents the theory and criticism of metafiction specifically as they both apply to and are frustrated by the special conditions of children’s metafiction. It presents the paradox of children’s metafiction which requires a sophisticated and complex reading from emerging and young readers. It examines the phenomenon of a recent rise in volume of children’s metafictions and what that confirms about metafiction’s role in fostering literate readers in the late twentieth and early twenty-first centuries.
{"title":"Children’s Metafiction: Texts and Contexts","authors":"Casie E. Hermansson","doi":"10.3366/edinburgh/9781474413565.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474413565.003.0002","url":null,"abstract":"As ‘children’s metafiction’ is the source text genre for adaptations under consideration, this chapter seeks to analyse it closely in order to suggest how it presents unique challenges to intermedial adaptation. The chapter is organized around the ‘what,’ ‘how,’ and ‘why’ of children’s metafiction to determine what metafiction purports to be and to do for young readers. It presents the theory and criticism of metafiction specifically as they both apply to and are frustrated by the special conditions of children’s metafiction. It presents the paradox of children’s metafiction which requires a sophisticated and complex reading from emerging and young readers. It examines the phenomenon of a recent rise in volume of children’s metafictions and what that confirms about metafiction’s role in fostering literate readers in the late twentieth and early twenty-first centuries.","PeriodicalId":133361,"journal":{"name":"Filming the Children's Book","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125883460","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}
Pub Date : 2019-02-01DOI: 10.3366/edinburgh/9781474413565.003.0007
Casie E. Hermansson
This study ends where it began, with the particularities of the children’s context when it comes to considering metafiction, transmediation of meta-fiction to children’s film, and adaptation itself. The important role of metafiction in children’s reading is central to an understanding of the particular pressures brought to bear on its adaptation, particularly to other (screen) media....
{"title":"Epilogue","authors":"Casie E. Hermansson","doi":"10.3366/edinburgh/9781474413565.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474413565.003.0007","url":null,"abstract":"This study ends where it began, with the particularities of the children’s context when it comes to considering metafiction, transmediation of meta-fiction to children’s film, and adaptation itself. The important role of metafiction in children’s reading is central to an understanding of the particular pressures brought to bear on its adaptation, particularly to other (screen) media....","PeriodicalId":133361,"journal":{"name":"Filming the Children's Book","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132169103","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}
Pub Date : 2019-02-01DOI: 10.3366/edinburgh/9781474413565.003.0004
Casie E. Hermansson
This chapter focuses on children’s films that depict ‘bookishness,’ both in adaptation and otherwise, to develop a ‘grammar’ of film techniques for doing so (as shown in mise en scène, editing, cinematography). This chapter uses many examples to illustrate that children’s film effectively employs a wide range of techniques for showing ‘bookish’ plots, characters, setting, themes, and symbols. These techniques are fruitfully employed in film adaptations of metafictions at the story level. Techniques discussed include title cards, intertitles, and subtitles; opening (with) the book; voicing the narrator; thematised readers and writers; embedding the book’s story; the lap dissolve; shifts from still to moving image; and metaphors for metalepsis (windows and mirrors). The chapter further discusses ekphrasis and shows how the interpretant functions. The chapter presents a case study on Harry Potter books 2 and 6, and their film adaptations: The Chamber of Secrets, and The Half-Blood Prince.
本章的重点是在改编和其他方面描绘“书卷气”的儿童电影，以发展电影技术的“语法”(如mise en scene，剪辑，电影摄影所示)。本章使用了许多例子来说明儿童电影有效地运用了广泛的技巧来展示“书生气”的情节、人物、背景、主题和符号。这些技巧在故事层面的元小说电影改编中得到了有效的运用。讨论的技巧包括标题卡、字幕和副标题;打开书的;为叙述者配音;主题化的读者和作者;嵌入书中的故事;膝溶解;从静止图像到运动图像的转换;还有隐喻的意思(窗户和镜子)。本章进一步讨论了短语，并说明了解释的作用。本章以《哈利波特》第2部和第6部及其改编的电影《密室》和《混血王子》为例进行了案例研究。
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Pub Date : 2019-02-01DOI: 10.3366/edinburgh/9781474413565.003.0003
Casie E. Hermansson
This chapter defines and discusses the genre of children’s film, situating the genre within its plural contexts, many of which are shared with children’s literature (dual audience, paradoxes between actual children and the child constructed by the work, anxiety about what youth view, visual literacy and ‘new’ media, and for adaptations, their pedagogical value in teaching literary source texts). The remainder of the chapter focuses on adaptation issues specific to children’s metafiction in screen adaptation, such as fidelity expectations, the paradox of medium-specific equivalence in this case, and the issue of intermedial tensions. The chapter introduces the idea of an ‘interpretant’ (from Michael Riffaterre) for reading the particular stance of these films as adaptations with respect to their source text and to the medium of literature. The ‘interpretant’ is an expression of the adaptation’s ideology – its governing principles and priorities in adapting the metafictional source.
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