Pub Date : 2021-05-03DOI: 10.5117/9789463722100_CH03
R. Evan
While the previous chapters have explored the materiality of adaptation and perception, this chapter explicitly examines how screen adaptations appeal to the spectator’s tactile sensitivity. This chapter draws on film-phenomenological approaches—such as Vivian Sobchack, Laura Marks, and Jennifer Barker—that characterize vision as being haptic and synaesthetic. Drawing on an analysis of Jane Campion’s film In the Cut (2002), I argue that the adaptation translates the novel’s protagonists tactile experience of her world and language into a haptic experience, in what I term the spectator’s ‘tactile orientation’. In doing so, this chapter further explores how not how adaptation should be considered as a textual layering of material, but also a textural layering that includes the spectator’s body in a moment of entanglement.
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Pub Date : 2021-05-03DOI: 10.5117/9789463722100_CH04
R. Evan
Rejecting any binary thinking that would have reading novels as an act of imagination while films are received through perception, this chapter examines how adaptations are experienced through the embodied imagination. This chapter builds upon approaches to imagination in cognitive aesthetics to argue that imagination is grounded in perception. This chapter draws on two case studies, Wonder (Stephen Chbosky, 2017) and Mood Indigo (Michel Gondry, 2013), both criticized for making tangible their literary sources in a manner than nullifies imaginative engagement. Rather, I argue that spectators feel their way into the worlds and existential feelings of their characters through the embodied imagination. This chapter suggests that perception can lead to a greater imaginative understanding of a work, the world, and others, and how such an imaginative connection might shift our point of view. That is, screen adaptations are equipped to enact a leap from sight to insight.
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Pub Date : 2021-05-03DOI: 10.5117/9789463722100_CH05
R. Evan
Adaptation criticism may begin as an act of memory, but while adaptation is a medium for memory it is also a medium of memory. This chapter considers adaptation as a form of memory work, paralleling adaptation’s textual layering with memory’s layering of experience. Adaptations can offer us experiential knowledge of the past—either fictional texts or a historical ‘truth’—or be antagonistic or self-reflexive about its formal remembrance. This chapter examines phenomenological approaches to the ‘tissue’ of memory and puts them in contact with two adaptations (one prestige, one arthouse), both concerned with the experience of marginalized bodies. In doing so, this chapter not only asks ‘what texts are remembered?’, or ‘who is remembered?’, but also questions ‘how are stories, identities, and lives remembered?’. In doing so, this chapter points to how an embodied approach to adaptation not only involves aesthetic appreciation but also ethical understanding.
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Pub Date : 2021-05-03DOI: 10.5117/9789463722100_CH01
R. Evan
Rather than approaching the ‘look’ of adaptation through point of view or the ‘vision’ of the adapter, this chapter examines the material, visible texture of screen adaptation. Using two adaptations of Bram Stoker’s gothic novel Dracula, I analyse how each uses mise en scène, cinematography, and editing to thicken and make tangible Stoker’s questioning of the reliability of vision in modernity. The first, Nosferatu (F.W Murnau, 1922) employs the tricks of early cinema to shock spectators, while the second—Bram Stoker’s Dracula (Francis Ford Coppola, 1992)—uses a neo-baroque aesthetic that ruptures the screen and engulfs the spectator, much like one of Dracula’s victims. This chapter suggests that critical insight into an adaptation can be found quite literally in sight, and embraces how the materiality of adaptation overlaps with the materiality of vision.
本章不是通过改编者的观点或视角来探讨改编的“外观”，而是考察屏幕改编的材料和可见纹理。通过对布拉姆·斯托克的哥特小说《德古拉》的两部改编，我分析了它们是如何运用场景布置、电影技术和剪辑技术，使斯托克对现代性视觉可靠性的质疑变得更加丰富和切实。第一部《诺斯费拉图》(F.W Murnau, 1922)采用了早期电影的技巧来震撼观众，而第二部《德古拉》(bram Stoker, Francis Ford Coppola, 1992)采用了新巴洛克美学，打破了屏幕，吞没了观众，很像德古拉的受害者之一。这一章表明，对适应的批判性洞察可以在视觉中找到，并包含了适应的物质性与视觉的物质性是如何重叠的。
{"title":"Grave Visions: Visual Experience and Adaptation","authors":"R. Evan","doi":"10.5117/9789463722100_CH01","DOIUrl":"https://doi.org/10.5117/9789463722100_CH01","url":null,"abstract":"Rather than approaching the ‘look’ of adaptation through point of view\u0000 or the ‘vision’ of the adapter, this chapter examines the material, visible\u0000 texture of screen adaptation. Using two adaptations of Bram Stoker’s gothic\u0000 novel Dracula, I analyse how each uses mise en scène, cinematography, and\u0000 editing to thicken and make tangible Stoker’s questioning of the reliability\u0000 of vision in modernity. The first, Nosferatu (F.W Murnau, 1922) employs the\u0000 tricks of early cinema to shock spectators, while the second—Bram Stoker’s\u0000 Dracula (Francis Ford Coppola, 1992)—uses a neo-baroque aesthetic that\u0000 ruptures the screen and engulfs the spectator, much like one of Dracula’s\u0000 victims. This chapter suggests that critical insight into an adaptation\u0000 can be found quite literally in sight, and embraces how the materiality\u0000 of adaptation overlaps with the materiality of vision.","PeriodicalId":253689,"journal":{"name":"Film Phenomenology and Adaptation","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122740734","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 : 2021-05-03DOI: 10.5117/9789463722100_CH02
R. Evan
This chapter attends to the phenomenological quality of sound and how it contributes to the experience and appreciation of adaptation. Attending to an adaptation’s soundscape not only reveals how it faithfully ‘re-sounds’ its source novel through the use of dialogue, but also how an adaptation might use sound to be creatively divergent from its source. This chapter therefore not only examines how an adaptation’s non-diegetic score can smooth its narrative structure or give emotional and psychological insight into its characters. But further, this chapter also examines how the warped and uncanny use of the actor’s voice—or an extremely atonal soundscape and score—can palpably affect the spectator. In doing so, this chapter examines how sound—both ‘faithful’ and ‘unfaithful’ recording of its source—intersects with adaptations both ‘faithful’ and wonderfully ‘unfaithful’ to its source.
{"title":"Resonance and Reverberation: Sounding Out Screen Adaptation","authors":"R. Evan","doi":"10.5117/9789463722100_CH02","DOIUrl":"https://doi.org/10.5117/9789463722100_CH02","url":null,"abstract":"This chapter attends to the phenomenological quality of sound and how it\u0000 contributes to the experience and appreciation of adaptation. Attending\u0000 to an adaptation’s soundscape not only reveals how it faithfully ‘re-sounds’\u0000 its source novel through the use of dialogue, but also how an adaptation\u0000 might use sound to be creatively divergent from its source. This chapter\u0000 therefore not only examines how an adaptation’s non-diegetic score can\u0000 smooth its narrative structure or give emotional and psychological insight\u0000 into its characters. But further, this chapter also examines how the warped\u0000 and uncanny use of the actor’s voice—or an extremely atonal soundscape\u0000 and score—can palpably affect the spectator. In doing so, this chapter\u0000 examines how sound—both ‘faithful’ and ‘unfaithful’ recording of its\u0000 source—intersects with adaptations both ‘faithful’ and wonderfully\u0000 ‘unfaithful’ to its source.","PeriodicalId":253689,"journal":{"name":"Film Phenomenology and Adaptation","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125046072","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 : 1900-01-01DOI: 10.5117/9789463722100_intro
Richard David Evan
This chapter positions the book in the extant scholarship of adaptation and phenomenology. It establishes the book’s argument that in order to ‘make sense’ of adaptations as adaptations, we must first attend to their sensual presence: their look, their sound, their touch, and how they materialize in the embodied imagination. This chapter builds on foundational adaptation scholarship by Robert Stam, Linda Hutcheon, and Christine Geraghty who advance an intertextual approach to studying adaptation. Rather, this chapter employs the existential phenomenology of Maurice Merleau-Ponty—and how it has been adapted to film studies by Vivian Sobchack—to propose an intersubjective account of adaptation.
{"title":"Introduction: A ‘Fleshly Dialogue’","authors":"Richard David Evan","doi":"10.5117/9789463722100_intro","DOIUrl":"https://doi.org/10.5117/9789463722100_intro","url":null,"abstract":"This chapter positions the book in the extant scholarship of adaptation\u0000 and phenomenology. It establishes the book’s argument that in order\u0000 to ‘make sense’ of adaptations as adaptations, we must first attend to\u0000 their sensual presence: their look, their sound, their touch, and how\u0000 they materialize in the embodied imagination. This chapter builds on\u0000 foundational adaptation scholarship by Robert Stam, Linda Hutcheon,\u0000 and Christine Geraghty who advance an intertextual approach to studying\u0000 adaptation. Rather, this chapter employs the existential phenomenology\u0000 of Maurice Merleau-Ponty—and how it has been adapted to film studies\u0000 by Vivian Sobchack—to propose an intersubjective account of adaptation.","PeriodicalId":253689,"journal":{"name":"Film Phenomenology and Adaptation","volume":"36 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116618058","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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