This article reflects upon the practice-led research project The Other Side of Me. It asks how to translate the life story of a young Aboriginal man born in Australia’s Northern Territory ‐ adopted by an English family and raised in a remote hamlet in Cornwall, United Kingdom ‐ into a narrative that engages with experiences of indigeneity in the contemporary world. At the project’s core is a collection of approximately 30 letters and poems that are crucially concerned with the trauma he suffered as a transracial adoptee ‐ the conflicts of an individual coming to terms with two very different cultures. Telling his story raises issues of cultural appropriation. We propose here that adapting his story into dance offers one way to negotiate the challenges of cultural appropriation. Importantly, this process of adaptation is iterative, creating space for multiple voices and bodies to retell and reinterpret a story of personal trauma that sits at the limits of linguistic expression.
{"title":"The Other Side of Me: Moving words into motion","authors":"Laura Fish, Liz Pavey","doi":"10.1386/jafp_00045_1","DOIUrl":"https://doi.org/10.1386/jafp_00045_1","url":null,"abstract":"This article reflects upon the practice-led research project The Other Side of Me. It asks how to translate the life story of a young Aboriginal man born in Australia’s Northern Territory ‐ adopted by an English family and raised in a remote hamlet in Cornwall, United Kingdom\u0000 ‐ into a narrative that engages with experiences of indigeneity in the contemporary world. At the project’s core is a collection of approximately 30 letters and poems that are crucially concerned with the trauma he suffered as a transracial adoptee ‐ the conflicts of an\u0000 individual coming to terms with two very different cultures. Telling his story raises issues of cultural appropriation. We propose here that adapting his story into dance offers one way to negotiate the challenges of cultural appropriation. Importantly, this process of adaptation is iterative,\u0000 creating space for multiple voices and bodies to retell and reinterpret a story of personal trauma that sits at the limits of linguistic expression.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82923264","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}
Romeo i Julia z Saskiej Kępy (‘Romeo and Juliet from Saska Kępa’) is a Polish film from 1988, which showcases the idea(l) of true love in late-communist Warsaw. He (Leopold) is an alcohol-wasted, promising painter, she (Sabina) comes to Warsaw from the country and finds employment as a domestic help. They find their love space in a boiler-room in a ruined tenement house in the prestigious and elitist district of Saska Kępa in Warsaw. The film is an adaptation of Shakespeare’s play of sorts; although there are references to Shakespeare’s tragedy and parallels are more or less detectable, the film rather addresses the status of the play in the Polish culture of the late 1980s, in the context of the drab reality of Poland just before the transition in 1989 (not that it anticipates it). Thus, it can be possibly classified as what Sanders (2006) views as appropriation. Our aim is to explore the functioning and role of the Romeo and Juliet myth in the (popular) culture of decadent communist Poland and its treatment in Skórzewski’s film: how certain motifs from the play, especially those associated with the myth of ideal love, were developed in a modernized version of Shakespeare’s tragedy, thus reflecting certain topical problems, which the director addresses appropriating this myth. Rather than showing love between the two figures impossible due to the rivalry between two families/opposing groups, Skórzewski finds obstacles for such love in the drab reality of the late 1980s and social differences between the two lovers. The director makes them mature people, neither are they stunningly beautiful, nor living a comfortable life.
{"title":"Romeo and Juliet in late-communist Poland: Deconstructing the myth of Shakespeare’s play","authors":"J. Fabiszak, A. Ratkiewicz","doi":"10.1386/jafp_00040_1","DOIUrl":"https://doi.org/10.1386/jafp_00040_1","url":null,"abstract":"Romeo i Julia z Saskiej Kępy (‘Romeo and Juliet from Saska Kępa’) is a Polish film from 1988, which showcases the idea(l) of true love in late-communist Warsaw. He (Leopold) is an alcohol-wasted, promising painter, she (Sabina) comes to Warsaw from the\u0000 country and finds employment as a domestic help. They find their love space in a boiler-room in a ruined tenement house in the prestigious and elitist district of Saska Kępa in Warsaw. The film is an adaptation of Shakespeare’s play of sorts; although there are references to Shakespeare’s\u0000 tragedy and parallels are more or less detectable, the film rather addresses the status of the play in the Polish culture of the late 1980s, in the context of the drab reality of Poland just before the transition in 1989 (not that it anticipates it). Thus, it can be possibly classified as\u0000 what Sanders (2006) views as appropriation. Our aim is to explore the functioning and role of the Romeo and Juliet myth in the (popular) culture of decadent communist Poland and its treatment in Skórzewski’s film: how certain motifs from the play, especially those associated with\u0000 the myth of ideal love, were developed in a modernized version of Shakespeare’s tragedy, thus reflecting certain topical problems, which the director addresses appropriating this myth. Rather than showing love between the two figures impossible due to the rivalry between two families/opposing\u0000 groups, Skórzewski finds obstacles for such love in the drab reality of the late 1980s and social differences between the two lovers. The director makes them mature people, neither are they stunningly beautiful, nor living a comfortable life.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"57 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89480819","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 Shakespearean stage productions after 1989 reflected social, political and economic changes in the rapidly transforming Polish reality, which gave rise to a modern type of audience whose sensitivity was shaped by popular music, cinema, digital media and the mass culture. Contemporary Polish directors (Jan Klata, Maja Kleczewska, Grzegorz Jarzyna, Krzysztof Warlikowski) recognized that modernity and tradition can (and should) be combined onstage and that canonical texts can express new meanings in new forms. The new approach to the audience and the canon led to the development of the new aesthetics representing the ‘postdramatic theatre’. The new aesthetics gave new rights to the directors; for example, Maja Kleczewska set her Macbeth in a criminal underworld of the Polish mafia in the 1990s, imbuing her production with kitschy costumes and pop culture symbols. For the same reason, Jan Klata located his H. in the Gdansk shipyard, the birthplace of ‘Solidarity’, infusing his adaptation with the music of The Doors, Metallica and U2. In my analysis of the Polish Shakespearean stage in the post-transformational era, I offer a short overview of some key trends in dramaturgical aesthetics and the directors’ approaches to the adaptation of Shakespeare’s drama to the stage in the 1990s and 2000s. Next, I discuss in more detail the ‘postdramatic’ aesthetics of the modern Shakespeare adaptations based on the examples of two chosen artists, Maja Kleczewska and Jan Klata.
{"title":"The Polish Shakespearean stage in the post-transformational era","authors":"Urszula Kizelbach","doi":"10.1386/jafp_00039_1","DOIUrl":"https://doi.org/10.1386/jafp_00039_1","url":null,"abstract":"The Shakespearean stage productions after 1989 reflected social, political and economic changes in the rapidly transforming Polish reality, which gave rise to a modern type of audience whose sensitivity was shaped by popular music, cinema, digital media and the mass culture. Contemporary\u0000 Polish directors (Jan Klata, Maja Kleczewska, Grzegorz Jarzyna, Krzysztof Warlikowski) recognized that modernity and tradition can (and should) be combined onstage and that canonical texts can express new meanings in new forms. The new approach to the audience and the canon led to the development\u0000 of the new aesthetics representing the ‘postdramatic theatre’. The new aesthetics gave new rights to the directors; for example, Maja Kleczewska set her Macbeth in a criminal underworld of the Polish mafia in the 1990s, imbuing her production with kitschy costumes and pop\u0000 culture symbols. For the same reason, Jan Klata located his H. in the Gdansk shipyard, the birthplace of ‘Solidarity’, infusing his adaptation with the music of The Doors, Metallica and U2. In my analysis of the Polish Shakespearean stage in the post-transformational era,\u0000 I offer a short overview of some key trends in dramaturgical aesthetics and the directors’ approaches to the adaptation of Shakespeare’s drama to the stage in the 1990s and 2000s. Next, I discuss in more detail the ‘postdramatic’ aesthetics of the modern Shakespeare\u0000 adaptations based on the examples of two chosen artists, Maja Kleczewska and Jan Klata.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84802161","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 is an attempt at analysing Hollywood remakes and their British originals in terms of constructing and articulating their shared identity and their difference. Although the source films are considered British, they are often UK/US co-productions, made at the time of Hollywood’s active involvement in the domestic film scene during the so-called ‘Hollywood England’. This complicates neat labels not only in terms of nationality and geography but also original versus copy and points to the existence of transnational and transcultural flows already in evidence in the original works. The article focuses on genre and casting in a selection of British films from the 1960s/70s and then their Hollywood remakes in the new millennium as an example of such cross-pollination with remakes and their originals seen as hybrid works existing between two cultures and film traditions that can be accessed from both directions.
{"title":"Hollywood remakes of British films: A case of cross-pollination","authors":"Agnieszka Rasmus","doi":"10.1386/jafp_00042_1","DOIUrl":"https://doi.org/10.1386/jafp_00042_1","url":null,"abstract":"This article is an attempt at analysing Hollywood remakes and their British originals in terms of constructing and articulating their shared identity and their difference. Although the source films are considered British, they are often UK/US co-productions, made at the time of Hollywood’s\u0000 active involvement in the domestic film scene during the so-called ‘Hollywood England’. This complicates neat labels not only in terms of nationality and geography but also original versus copy and points to the existence of transnational and transcultural flows already in evidence\u0000 in the original works. The article focuses on genre and casting in a selection of British films from the 1960s/70s and then their Hollywood remakes in the new millennium as an example of such cross-pollination with remakes and their originals seen as hybrid works existing between two cultures\u0000 and film traditions that can be accessed from both directions.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72894761","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}
For the past 40 years, Peter Sellars has been one of the most innovative, eclectic and prolific directors in Western theatre. A deeply cultivated and politically committed practitioner whose vision and craft span a multitude of widely divergent theatrical traditions, genres and styles, Sellars has established his international reputation as a polymath in the performing arts. With more than 100 productions to his name, including community-based, transnational and transcontinental work, Sellars is known worldwide for his contemporary interpretations of canonical plays and operas that combine radical imagery, technical virtuosity, structural rigour, intellectual depth, social critique and moral intent. In this interview, he shares details about his collaboration with African American writer Toni Morrison and Malian musician Rokia Traoré in the creation of Desdemona (2012), a cross-cultural adaptation of William Shakespeare’s Othello, talking about theatre as ritual, directorial choices, acting as channelling and intertextuality.
{"title":"Staging Desdemona in African time: A conversation with Peter Sellars","authors":"V. Rapetti","doi":"10.1386/JAFP_00034_7","DOIUrl":"https://doi.org/10.1386/JAFP_00034_7","url":null,"abstract":"For the past 40 years, Peter Sellars has been one of the most innovative, eclectic and prolific directors in Western theatre. A deeply cultivated and politically committed practitioner whose vision and craft span a multitude of widely divergent theatrical traditions, genres and styles, Sellars has established his international reputation as a polymath in the performing arts. With more than 100 productions to his name, including community-based, transnational and transcontinental work, Sellars is known worldwide for his contemporary interpretations of canonical plays and operas that combine radical imagery, technical virtuosity, structural rigour, intellectual depth, social critique and moral intent. In this interview, he shares details about his collaboration with African American writer Toni Morrison and Malian musician Rokia Traoré in the creation of Desdemona (2012), a cross-cultural adaptation of William Shakespeare’s Othello, talking about theatre as ritual, directorial choices, acting as channelling and intertextuality.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"54 1","pages":"319-336"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76601037","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 October 2017, Luísa Costa Gomes, Portuguese dramatist, created for the stage what she called a ‘genre transformation’ or more accurately, she argues, a ‘transmigration’ of Woolf’s large-spectrum fictional (utopian, fantastical, parodic) biographic narrative, that spans three centuries of English history, while accompanying the extraordinary life trajectory of its protagonist, Orlando. The rich and manifold ambivalence of the text is explored in Luísa Costa Gomes’s ‘transformation’, first of all in terms of its rendering into a dramatic monologue which condenses the original narrative in about forty pages of what she calls a ‘programmatic reconstruction of the source text’, which, she offers, is but a ‘commented and seasoned active reading’, after all the ‘fundamental prerequisite of any reading’. The play aims to capture the essence of Orlando’s fluidity in between genders, in between cultures, and historical moments. It amplifies the inner dialogues of the text with the texts of history and those of the male and female protagonists that embody it, plus the implicit dialogue between the authorial voice and the voice of the dramaturg as that of yet another reader. The new text thus ‘transmigrated’ into Portuguese, resounds as a ‘haunted monologue’ that is, after all, deeply plurivocal and uncannily dialogical.
2017年10月，葡萄牙剧作家Luísa科斯塔·戈麦斯(Costa Gomes)为舞台创作了她所谓的“类型转换”，或者更准确地说，她认为，伍尔夫的大范围虚构(乌托邦、幻想、模仿)传记叙事的“轮回”，跨越了三个世纪的英国历史，同时伴随着主人公奥兰多非凡的人生轨迹。在Luísa Costa Gomes的“转换”中探索了文本的丰富和多样的矛盾心理，首先是将其渲染成戏剧性的独白，将原始叙述浓缩在大约四十页的内容中，她称之为“源文本的程序性重建”，她提出，这只是一种“评论和经验丰富的积极阅读”，毕竟是“任何阅读的基本先决条件”。该剧旨在捕捉奥兰多在性别、文化和历史时刻之间流动性的本质。它放大了文本与历史文本的内在对话以及体现历史的男女主角之间的内在对话，加上作者的声音与戏剧的声音之间的隐含对话，就像另一个读者的声音一样。因此，新文本被“转译”为葡萄牙语，听起来就像一段“闹鬼的独白”，毕竟，这是一段深刻的多音和不可思议的对话。
{"title":"A Grande Vaga de Frio (‘The Great Frost’): The transmigration of Orlando into Portuguese","authors":"A. Macedo","doi":"10.1386/JAFP_00036_3","DOIUrl":"https://doi.org/10.1386/JAFP_00036_3","url":null,"abstract":"In October 2017, Luísa Costa Gomes, Portuguese dramatist, created for the stage what she called a ‘genre transformation’ or more accurately, she argues, a ‘transmigration’ of Woolf’s large-spectrum fictional (utopian, fantastical, parodic) biographic narrative, that spans three centuries of English history, while accompanying the extraordinary life trajectory of its protagonist, Orlando. The rich and manifold ambivalence of the text is explored in Luísa Costa Gomes’s ‘transformation’, first of all in terms of its rendering into a dramatic monologue which condenses the original narrative in about forty pages of what she calls a ‘programmatic reconstruction of the source text’, which, she offers, is but a ‘commented and seasoned active reading’, after all the ‘fundamental prerequisite of any reading’. The play aims to capture the essence of Orlando’s fluidity in between genders, in between cultures, and historical moments. It amplifies the inner dialogues of the text with the texts of history and those of the male and female protagonists that embody it, plus the implicit dialogue between the authorial voice and the voice of the dramaturg as that of yet another reader. The new text thus ‘transmigrated’ into Portuguese, resounds as a ‘haunted monologue’ that is, after all, deeply plurivocal and uncannily dialogical.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"47 1","pages":"345-351"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76971278","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 investigates the Chinese director Li Shaohong’s film Bloody Morning (1992), which was adapted from Gabriel García Márquez’s novella Chronicle of a Death Foretold (1981), and the Chinese philosophical and cultural tradition that shaped this case of adaptation. By incorporating the Colombian story, Li Shaohong expressed her concern about China’s backwards rural areas. Her adaptation localizes and incorporates the foreignness of the source text to meet the ideological and aesthetic horizons of expectation and the common concerns of her Chinese audience. This article argues that the director’s domestication has its philosophical and cultural roots in China’s history of war against foreign aggression, although the Chinese film has nothing to do with war against foreign powers.
{"title":"Between translation studies and adaptation studies: Via the case of Li Shaohong’s cinematic domestication of Gabriel García Márquez’s Chronicle of a Death Foretold","authors":"Xiaohua Jiang","doi":"10.1386/JAFP_00029_1","DOIUrl":"https://doi.org/10.1386/JAFP_00029_1","url":null,"abstract":"This article investigates the Chinese director Li Shaohong’s film Bloody Morning (1992), which was adapted from Gabriel García Márquez’s novella Chronicle of a Death Foretold (1981), and the Chinese philosophical and cultural tradition that shaped this case of adaptation. By incorporating the Colombian story, Li Shaohong expressed her concern about China’s backwards rural areas. Her adaptation localizes and incorporates the foreignness of the source text to meet the ideological and aesthetic horizons of expectation and the common concerns of her Chinese audience. This article argues that the director’s domestication has its philosophical and cultural roots in China’s history of war against foreign aggression, although the Chinese film has nothing to do with war against foreign powers.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"13 1","pages":"223-236"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80021487","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 stage performance of Langbodo, a play, which Nigerian dramatist Wale Ogunyemi adapted from Soyinka’s The Forest of a Thousand Daemons, which, in turn, is a translation of D. O. Fagunwa’s prose, Ògbójú Ọdẹ Nínú Igbó Irúnmalẹ̀. 'The bold hunter in the daemon-infested forest', exposed the limitation of the text as a bearer of meaning in the theatrical adaptation context. The limitation is analysed in this work to justify the centrality of adaptation in bridging the text-design-audience semiotic gap. This study examines the technical challenges of theatre design in D. O. Fagunwa’s works resulting from their adaptation as drama. The Yoruba apothegmatic idiom, Ẹnu ‘dùn ń rò’fọ́, agada ọwọ́ ṣeé ṣán’ko (which means, literally, that ‘vegetable soup can be prepared orally if a mere hand suffices for a cutlass’), a traditional derision for the inadequacies of the text, and the Barthesian notion of intertextuality serve as a dual theoretical structure in this study. A combination of methodologies including participant observation and ethnographic approach suffice for the retrieval and analysis of performance materials, respectively. Therefore, the study contends that the process of stage adaptation in Wale Ogunyemi’s play, Langbodo, used the technical contributions of theatre design, as a catalyst for connecting Fagunwa’s ideas to the final audience.
{"title":"Ẹnu dùn ń rò’fọ́…: Theatre design, audience cognition and dramatic adaptation of Fagunwa’s texts","authors":"Michael Aderemi Adeoye","doi":"10.1386/JAFP_00027_1","DOIUrl":"https://doi.org/10.1386/JAFP_00027_1","url":null,"abstract":"The stage performance of Langbodo, a play, which Nigerian dramatist Wale Ogunyemi adapted from Soyinka’s The Forest of a Thousand Daemons, which, in turn, is a translation of D. O. Fagunwa’s prose, Ògbójú Ọdẹ Nínú Igbó Irúnmalẹ̀. 'The bold hunter in the daemon-infested forest', exposed the limitation of the text as a bearer of meaning in the theatrical adaptation context. The limitation is analysed in this work to justify the centrality of adaptation in bridging the text-design-audience semiotic gap. This study examines the technical challenges of theatre design in D. O. Fagunwa’s works resulting from their adaptation as drama. The Yoruba apothegmatic idiom, Ẹnu ‘dùn ń rò’fọ́, agada ọwọ́ ṣeé ṣán’ko (which means, literally, that ‘vegetable soup can be prepared orally if a mere hand suffices for a cutlass’), a traditional derision for the inadequacies of the text, and the Barthesian notion of intertextuality serve as a dual theoretical structure in this study. A combination of methodologies including participant observation and ethnographic approach suffice for the retrieval and analysis of performance materials, respectively. Therefore, the study contends that the process of stage adaptation in Wale Ogunyemi’s play, Langbodo, used the technical contributions of theatre design, as a catalyst for connecting Fagunwa’s ideas to the final audience.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"20 1","pages":"185-202"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90170730","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 deals with the adaptation of a written text – the diary of 13-year-old Éva Heyman who died in the Holocaust – into a series of Instagram stories, joined to create a 50-minute film. We employ translation studies and the concept of ‘indirect translation’ to investigate this unique case in which a genre characterized by its ephemerality is used to commemorate and perpetuate the past. The project, which caused a furore because Instagram was considered inappropriate for dealing with such a grave subject, was motivated by the desire to transmit the diary to contemporary audiences and retain its relevance for them. We have found that the diary served as a general framework, but its contents and the character of Éva that emerges from it were overshadowed by two factors: turning Éva into a contemporary youngster, so as to attract today’s youth; and relying on Hollywood traditions of filming the Second World War and the Holocaust.
{"title":"What if a girl in the Holocaust had Instagram? Éva’s Story as a case of indirect translation","authors":"A. Kohn, R. Weissbrod","doi":"10.1386/JAFP_00032_1","DOIUrl":"https://doi.org/10.1386/JAFP_00032_1","url":null,"abstract":"This article deals with the adaptation of a written text – the diary of 13-year-old Éva Heyman who died in the Holocaust – into a series of Instagram stories, joined to create a 50-minute film. We employ translation studies and the concept of ‘indirect translation’ to investigate this unique case in which a genre characterized by its ephemerality is used to commemorate and perpetuate the past. The project, which caused a furore because Instagram was considered inappropriate for dealing with such a grave subject, was motivated by the desire to transmit the diary to contemporary audiences and retain its relevance for them. We have found that the diary served as a general framework, but its contents and the character of Éva that emerges from it were overshadowed by two factors: turning Éva into a contemporary youngster, so as to attract today’s youth; and relying on Hollywood traditions of filming the Second World War and the Holocaust.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"93 1","pages":"285-303"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77957156","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: The History of American Literature on Film, Thomas Leitch (2019) New York and London: Bloomsbury, 448 pp., ISBN 978-1-6289-2373-5, h/bk, £ 120.00
{"title":"The History of American Literature on Film, Thomas Leitch (2019)","authors":"Sabrina Vellucci","doi":"10.1386/JAFP_00037_5","DOIUrl":"https://doi.org/10.1386/JAFP_00037_5","url":null,"abstract":"Review of: The History of American Literature on Film, Thomas Leitch (2019)\u0000New York and London: Bloomsbury, 448 pp.,\u0000ISBN 978-1-6289-2373-5, h/bk, £ 120.00","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"14 1","pages":"353-356"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84958861","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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