Multiple critics have interpreted the 2012 horror film The Cabin in the Woods, written by Joss Whedon and Drew Goddard and directed by the latter, as a playful, postmodern critique of the horror genre. Drawing on the ideas of Daniel Frampton, this article seeks to trouble that reading, and argue instead that the text itself views cinematic horror in a more unequivocally favourable light than either of its creators intended. More precisely, I argue that beneath its self-reflexive, compulsively intertextual veneer, The Cabin in the Woods is in fact articulating a rather passionate affirmation of horror cinema’s often controversial generic heritage, and a potent defence of its social value and utility.
{"title":"Let it bleed: Intertextuality and the embrace of horror in The Cabin in the Woods","authors":"Jo Hodgkins","doi":"10.1386/jafp_00059_1","DOIUrl":"https://doi.org/10.1386/jafp_00059_1","url":null,"abstract":"Multiple critics have interpreted the 2012 horror film The Cabin in the Woods, written by Joss Whedon and Drew Goddard and directed by the latter, as a playful, postmodern critique of the horror genre. Drawing on the ideas of Daniel Frampton, this article seeks to trouble that\u0000 reading, and argue instead that the text itself views cinematic horror in a more unequivocally favourable light than either of its creators intended. More precisely, I argue that beneath its self-reflexive, compulsively intertextual veneer, The Cabin in the Woods is in fact articulating\u0000 a rather passionate affirmation of horror cinema’s often controversial generic heritage, and a potent defence of its social value and utility.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"98 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73429223","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}
Robert De Niro and Marlon Brando are the only two actors to win an Academy Award for playing the same character: Vito Corleone in Francis Ford Coppola’s Godfather series. My article examines the similarities and differences between the actors’ interpretations of the iconic Don Corleone. I draw on lessons on script interpretation they both learned from their acting teacher Stella Adler and Robert De Niro’s goal of ‘being in the present circumstances of the moment’ to examine De Niro’s translation of Brando, the script, Mario Puzo’s novel and their interpretation of Corleone’s embodiment of masculinity. Using De Niro’s scripts, documents and notes related to his research of Corleone in the Harry Ransom Center, I outline the specific steps that De Niro took to translate and reinterpret Corleone. By triangulating the three major personalities most responsible for creating the memorable role, we can separate the various author-functions of three very different creators ‐ Francis Ford Coppola, Marlon Brando and Robert De Niro.
{"title":"The two Vitos: De Niro’s translation of Vito Corleone in The Godfather Part II","authors":"R. Tait","doi":"10.1386/jafp_00060_1","DOIUrl":"https://doi.org/10.1386/jafp_00060_1","url":null,"abstract":"Robert De Niro and Marlon Brando are the only two actors to win an Academy Award for playing the same character: Vito Corleone in Francis Ford Coppola’s Godfather series. My article examines the similarities and differences between the actors’ interpretations of the\u0000 iconic Don Corleone. I draw on lessons on script interpretation they both learned from their acting teacher Stella Adler and Robert De Niro’s goal of ‘being in the present circumstances of the moment’ to examine De Niro’s translation of Brando, the script, Mario Puzo’s\u0000 novel and their interpretation of Corleone’s embodiment of masculinity. Using De Niro’s scripts, documents and notes related to his research of Corleone in the Harry Ransom Center, I outline the specific steps that De Niro took to translate and reinterpret Corleone. By triangulating\u0000 the three major personalities most responsible for creating the memorable role, we can separate the various author-functions of three very different creators ‐ Francis Ford Coppola, Marlon Brando and Robert De Niro.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74342194","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":"The picture in the attic: Ross Dinwiddy on The Tragedy of Dorian Gray1","authors":"Tom Ue","doi":"10.1386/jafp_00061_7","DOIUrl":"https://doi.org/10.1386/jafp_00061_7","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76933951","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 beginning of 2020 treated Dracula fans worldwide to a brand-new televised version of Dracula, written for the BBC by Mark Gatiss and Steven Moffat (the creators of the celebrated series Sherlock). While the beginning of the series seems to be following Bram Stoker’s story to some extent, it soon becomes clear the show is playing with both classic and Gothic conventions by means of updating and modernizing them. This article aims at conducting a Gothic reading of the series; i.e. identifying the Gothic paradigms, tracing elements of Bram Stoker’s literary vision and studying the constituents of the Gatiss‐Moffat post-millennial Gothic reality. The subsequent sections of the study will focus on the present meaning of Gothic and its representation in the 2020 adaptation of Dracula. It will discuss the evolution of the cinematic Dracula and his arch-enemy in relation to the fixed image thriving for over a century in popular culture. Finally, Gatiss and Moffat’s vision of twenty-first century Gothic will be examined with a view to ascertain whether there is still space and need for the Gothic aesthetic on the third millennium screen.
{"title":"Dracula and the Gothic legacy: Mark Gatiss and Steven Moffat’s BBC television series","authors":"M. Grabias","doi":"10.1386/jafp_00058_1","DOIUrl":"https://doi.org/10.1386/jafp_00058_1","url":null,"abstract":"The beginning of 2020 treated Dracula fans worldwide to a brand-new televised version of Dracula, written for the BBC by Mark Gatiss and Steven Moffat (the creators of the celebrated series Sherlock). While the beginning of the series seems to be following Bram Stoker’s\u0000 story to some extent, it soon becomes clear the show is playing with both classic and Gothic conventions by means of updating and modernizing them. This article aims at conducting a Gothic reading of the series; i.e. identifying the Gothic paradigms, tracing elements of Bram Stoker’s\u0000 literary vision and studying the constituents of the Gatiss‐Moffat post-millennial Gothic reality. The subsequent sections of the study will focus on the present meaning of Gothic and its representation in the 2020 adaptation of Dracula. It will discuss the evolution of the cinematic\u0000 Dracula and his arch-enemy in relation to the fixed image thriving for over a century in popular culture. Finally, Gatiss and Moffat’s vision of twenty-first century Gothic will be examined with a view to ascertain whether there is still space and need for the Gothic aesthetic on the\u0000 third millennium screen.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81941344","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":"Adapting the Canon: Mediation, Visualization, Interpretation, Ann Lewis and Silke Arnold-de Simine (eds) (2020)","authors":"Maddalena Pennacchia","doi":"10.1386/jafp_00063_5","DOIUrl":"https://doi.org/10.1386/jafp_00063_5","url":null,"abstract":"Review of: Adapting the Canon: Mediation, Visualization, Interpretation, Ann Lewis and Silke Arnold-de Simine (eds) (2020)Cambridge: Legenda, 254 pp.,ISBN 978-1-78188-708-0, h/bk, €85ISBN 978-1-78188-396-9, p/bk, €12.50","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82589441","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}
This article revisits the important fields of dispute about The Turn of the Screw ‐ whether the ambiguity about the reality of the ghosts, which is present in Henry James’s novella, carries over into the opera; what the Governess’s state of mind is; what kind of possession of the children is sought by the ghosts; and how the closing moments are to be interpreted. The focus is not just on what the libretto and score can tell us when studied by themselves; examples of decisions by directors and singing actors are drawn from two productions available on DVD, and one available on YouTube, ranging from a 1983 production recorded at a 1990 revival via a 1992 staging to a new production in 2019. There is also reference to some pre-1985 productions cited by Patricia Howard. The discussion widens in the Conclusion to draw out the implications of the analysis for the production of other operas. An Appendix provides a comparative synopsis of the opera and the novella.
{"title":"Interpretation and performance: The Turn of the Screw by Benjamin Britten and Myfanwy Piper","authors":"Michael Ewans","doi":"10.1386/jafp_00057_1","DOIUrl":"https://doi.org/10.1386/jafp_00057_1","url":null,"abstract":"This article revisits the important fields of dispute about The Turn of the Screw ‐ whether the ambiguity about the reality of the ghosts, which is present in Henry James’s novella, carries over into the opera; what the Governess’s state of mind is; what kind\u0000 of possession of the children is sought by the ghosts; and how the closing moments are to be interpreted. The focus is not just on what the libretto and score can tell us when studied by themselves; examples of decisions by directors and singing actors are drawn from two productions available\u0000 on DVD, and one available on YouTube, ranging from a 1983 production recorded at a 1990 revival via a 1992 staging to a new production in 2019. There is also reference to some pre-1985 productions cited by Patricia Howard. The discussion widens in the Conclusion to draw out the implications\u0000 of the analysis for the production of other operas. An Appendix provides a comparative synopsis of the opera and the novella.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91138987","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: Studying Shakespeare Adaptation: From Restoration Theatre to YouTube, Pamela Bickley and Jenny Stevens (2020)The Arden Shakespeare, London and New York: Bloomsbury, 264 pp.,ISBN 978-1-35006-864-3, h/bk, £65.00, p/bk, £19.99
{"title":"Studying Shakespeare Adaptation: From Restoration Theatre to YouTube, Pamela Bickley and Jenny Stevens (2020)","authors":"Kinga Földváry","doi":"10.1386/jafp_00056_5","DOIUrl":"https://doi.org/10.1386/jafp_00056_5","url":null,"abstract":"Review of: Studying Shakespeare Adaptation: From Restoration Theatre to YouTube, Pamela Bickley and Jenny Stevens (2020)The Arden Shakespeare, London and New York: Bloomsbury, 264 pp.,ISBN 978-1-35006-864-3, h/bk, £65.00, p/bk, £19.99","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"89 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80370833","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}
Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent avant-garde films, James Benning’s Easy Rider (2012) and Jessica Bardsley’s Goodbye Thelma (2019), within the framework of remake and adaptation studies and proposes that both works function as acknowledged and transformed remakes of the classic road movies, in which the outcome radically differs from the original story and crosses the temporal and spatial boundaries of the genre. In doing so, the projects fit in with the broader tradition of cinematic reworking and recycling as they continuously reference and exploit earlier films by creating their alternative versions as well as a strong sense of place and movement.
{"title":"Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie","authors":"Kornelia Boczkowska","doi":"10.1386/jafp_00050_1","DOIUrl":"https://doi.org/10.1386/jafp_00050_1","url":null,"abstract":"Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between\u0000 repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article\u0000 situates two recent avant-garde films, James Benning’s Easy Rider (2012) and Jessica Bardsley’s Goodbye Thelma (2019), within the framework of remake and adaptation studies and proposes that both works function as acknowledged and transformed remakes of the classic\u0000 road movies, in which the outcome radically differs from the original story and crosses the temporal and spatial boundaries of the genre. In doing so, the projects fit in with the broader tradition of cinematic reworking and recycling as they continuously reference and exploit earlier films\u0000 by creating their alternative versions as well as a strong sense of place and movement.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86867827","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}
In this article, we will be focusing on issues of transnational and transcultural film adaptation using as a case study a particular screen adaptation of the novel The Mayor of Casterbridge by Thomas Hardy entitled The Claim (Michael Winterbottom 2000). The article aims to analyse the film in relation to these issues, taking into account notions of transcultural adaptation and transnational film productions, as well as mobility and migration in the context of a nineteenth-century film text. It is not only a text that relocates Hardy’s narrative into a new geographical/cultural dimension, but also it is itself a transnational production. Moreover, in the case of The Claim, there seems to be a clear understanding of processes of intercultural community construction that are particularly productive to look at. The article establishes a link between the particular transcultural perspective raised in this film and Michael Winterbottom’s oeuvre, taking also into account other adaptations of Hardy’s novels by the same director and the Western genre that underlies this film production.
在这篇文章中，我们将关注跨国和跨文化电影改编的问题，并以托马斯·哈代的小说《卡斯特桥市长》(the Mayor of Casterbridge, Michael Winterbottom 2000)为例进行研究。本文旨在分析与这些问题有关的电影，考虑到跨文化适应和跨国电影制作的概念，以及十九世纪电影文本背景下的流动性和迁移。它不仅是一个将哈代的叙事重新定位到一个新的地理/文化维度的文本，而且它本身也是一个跨国作品。此外，在《主张》的案例中，人们似乎对跨文化社区建设的过程有了清晰的理解，这一点特别值得关注。本文将这部电影中提出的特殊的跨文化视角与迈克尔·温特伯顿的作品联系起来，同时考虑到哈代小说的其他改编，以及这部电影背后的西方类型。
{"title":"Michael Winterbottom’s The Claim (2000) as a transnational and transcultural adaptation of The Mayor of Casterbridge","authors":"M. Pereira","doi":"10.1386/jafp_00053_1","DOIUrl":"https://doi.org/10.1386/jafp_00053_1","url":null,"abstract":"In this article, we will be focusing on issues of transnational and transcultural film adaptation using as a case study a particular screen adaptation of the novel The Mayor of Casterbridge by Thomas Hardy entitled The Claim (Michael Winterbottom 2000). The article aims\u0000 to analyse the film in relation to these issues, taking into account notions of transcultural adaptation and transnational film productions, as well as mobility and migration in the context of a nineteenth-century film text. It is not only a text that relocates Hardy’s narrative into\u0000 a new geographical/cultural dimension, but also it is itself a transnational production. Moreover, in the case of The Claim, there seems to be a clear understanding of processes of intercultural community construction that are particularly productive to look at. The article establishes\u0000 a link between the particular transcultural perspective raised in this film and Michael Winterbottom’s oeuvre, taking also into account other adaptations of Hardy’s novels by the same director and the Western genre that underlies this film production.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73998492","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":"Under the deerstalker: Nick Lane and Luke Barton on Sherlock Holmes and The Sign of Four","authors":"Tom Ue","doi":"10.1386/jafp_00055_7","DOIUrl":"https://doi.org/10.1386/jafp_00055_7","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"110 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74105374","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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