{"title":"Another story for another time: A conversation with David S. Craig and Jake Runeckles about The Neverending Story","authors":"Tom Ue","doi":"10.1386/jafp_00024_7","DOIUrl":"https://doi.org/10.1386/jafp_00024_7","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"39 3 1","pages":"163-171"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90535893","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: Shakespearean Celebrity in the Digital Age: Fan Cultures and Remediation, Anna Blackwell (2018)Basingstoke: Palgrave Macmillan, xiii + 188 pp.,ISBN 978-3-31996-543-7, h/bk, €72.79, p/bk, €51.99;ISBN 978-3-31996-544-4, e/bk, €42.79
{"title":"Shakespearean Celebrity in the Digital Age: Fan Cultures and Remediation, Anna Blackwell (2018)","authors":"Michela Compagnoni","doi":"10.1386/jafp_00025_5","DOIUrl":"https://doi.org/10.1386/jafp_00025_5","url":null,"abstract":"Review of: Shakespearean Celebrity in the Digital Age: Fan Cultures and Remediation, Anna Blackwell (2018)Basingstoke: Palgrave Macmillan, xiii + 188 pp.,ISBN 978-3-31996-543-7, h/bk, €72.79, p/bk, €51.99;ISBN 978-3-31996-544-4, e/bk, €42.79","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"6 1","pages":"173-176"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75832545","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}
Set in America in the 1970s, Billy Morrissette’s 2001 adaptation of Shakespeare’s Macbeth, Scotland, PA, waivers between nostalgia and critique. In order to understand the film’s conflicting attitudes towards the era in which it is set and to appreciate how adaptations, generally, often feel ambivalent about their past(s), this essay begins by discussing Scotland, PA’s construction of the 1970s. In an effort to answer Lynne Bradley’s call for ‘a new model’ of modern adaptation, seeing it as ‘a complex double gesture’, the essay discusses how although Scotland, PA appears to illustrate many of the qualities of what Fredric Jameson has called the nostalgia film, this categorization of the adaptation neither accounts for its use of irony nor for the inherently complex nature of nostalgia. Ultimately, Scotland, PA’s ambivalence about history, the essay proposes, encourages us to conceive of the relationship between source/past and adaptation/present as a site of complex, dynamic negotiations rather than a static dichotomy that obliges us to choose between an adaptation’s acceptance or rejection of its forebears.
{"title":"‘These are modern times’: Nostalgia and the adaptation of history in Billy Morrissette’s Scotland, PA","authors":"Stephannie S. Gearhart","doi":"10.1386/jafp_00010_1","DOIUrl":"https://doi.org/10.1386/jafp_00010_1","url":null,"abstract":"Set in America in the 1970s, Billy Morrissette’s 2001 adaptation of Shakespeare’s Macbeth, Scotland, PA, waivers between nostalgia and critique. In order to understand the film’s conflicting attitudes towards the era in which it is set and to appreciate how\u0000 adaptations, generally, often feel ambivalent about their past(s), this essay begins by discussing Scotland, PA’s construction of the 1970s. In an effort to answer Lynne Bradley’s call for ‘a new model’ of modern adaptation, seeing it as ‘a complex double\u0000 gesture’, the essay discusses how although Scotland, PA appears to illustrate many of the qualities of what Fredric Jameson has called the nostalgia film, this categorization of the adaptation neither accounts for its use of irony nor for the inherently complex nature of nostalgia.\u0000 Ultimately, Scotland, PA’s ambivalence about history, the essay proposes, encourages us to conceive of the relationship between source/past and adaptation/present as a site of complex, dynamic negotiations rather than a static dichotomy that obliges us to choose between an adaptation’s\u0000 acceptance or rejection of its forebears.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"91 1","pages":"23-35"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87096853","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 question of closure in James Sallis’ and Nicolas Winding Refn’s Drive","authors":"Tom Ue","doi":"10.1386/jafp_00015_7","DOIUrl":"https://doi.org/10.1386/jafp_00015_7","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"50 1","pages":"91-96"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72949802","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}
Michelangelo Antonioni’s films are rarely associated with translation and adaptation. Yet, his work consistently explores the very essence of images, their ambiguous relation to reality and the deceptive nature of perception. It is a cinema of uncertainty par excellence, thus of translation; at least, a conception of translation (and adaptation) that does not solely rely on principles of faithfulness, transparency and systematic semiotics. This article thus proposes to look at one of Antonioni’s most compelling films,Blow-Up, through the prism of indeterminacy. Drawing upon Gilles Deleuze’s time-image to present the film as a hermeneutic event that opens up a third space of representation, this article examines the indeterminacy at the heart ofBlow-Upon two levels. As a film adaptation, it first considers how Antonioni visually translates the indeterminacy of Julio Cortázar’s short story. This preliminary reading then leads to a sustained attempt at exploringBlow-Up’s filmic landscape, with the view to show how the indeterminacy running through Antonioni’s aesthetics becomes itself a form of translation.
{"title":"Adaptation, translation and indeterminacy in Michelangelo Antonioni’sBlow-Up: Towards a third space of representation","authors":"Laurence Besnard-Scott","doi":"10.1386/jafp_00009_1","DOIUrl":"https://doi.org/10.1386/jafp_00009_1","url":null,"abstract":"Michelangelo Antonioni’s films are rarely associated with translation and adaptation. Yet, his work consistently explores the very essence of images, their ambiguous relation to reality and the deceptive nature of perception. It is a cinema of uncertainty par excellence, thus of translation; at least, a conception of translation (and adaptation) that does not solely rely on principles of faithfulness, transparency and systematic semiotics. This article thus proposes to look at one of Antonioni’s most compelling films,Blow-Up, through the prism of indeterminacy. Drawing upon Gilles Deleuze’s time-image to present the film as a hermeneutic event that opens up a third space of representation, this article examines the indeterminacy at the heart ofBlow-Upon two levels. As a film adaptation, it first considers how Antonioni visually translates the indeterminacy of Julio Cortázar’s short story. This preliminary reading then leads to a sustained attempt at exploringBlow-Up’s filmic landscape, with the view to show how the indeterminacy running through Antonioni’s aesthetics becomes itself a form of translation.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"29 1","pages":"7-22"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73710534","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}
Adult colouring books have become a permanent fixture in shops across the globe. These books began as a way of marketing illustrators’ work but have expanded to become part of the media franchising industry. This article will explore the two licensed colouring books created for Game of Thrones and the news media response to them. This response is varied, with much criticism of this kind of licensed product which appears to exist as potentially unimaginative Christmas presents. It will explore how these colouring books act as both an adaptation and how they are an important part of the modern media franchising industry. This kind of product is considered as an important way to keep licensed properties in the public eye, particularly when they are in between television seasons. When it comes to Game of Thrones colouring books there are a number of common themes in news media, such as the idea that colouring such images is not a route to mindfulness, and that these books act as a substitute for the ‘real thing’.
{"title":"Getting in touch with our inner sadistic, bloodthirsty child: Adapting Game of Thrones for the adult colouring book market","authors":"Rachel Mizsei-Ward","doi":"10.1386/jafp_00012_1","DOIUrl":"https://doi.org/10.1386/jafp_00012_1","url":null,"abstract":"Adult colouring books have become a permanent fixture in shops across the globe. These books began as a way of marketing illustrators’ work but have expanded to become part of the media franchising industry. This article will explore the two licensed colouring books created for\u0000 Game of Thrones and the news media response to them. This response is varied, with much criticism of this kind of licensed product which appears to exist as potentially unimaginative Christmas presents. It will explore how these colouring books act as both an adaptation and how they\u0000 are an important part of the modern media franchising industry. This kind of product is considered as an important way to keep licensed properties in the public eye, particularly when they are in between television seasons. When it comes to Game of Thrones colouring books there are\u0000 a number of common themes in news media, such as the idea that colouring such images is not a route to mindfulness, and that these books act as a substitute for the ‘real thing’.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"12 1","pages":"51-64"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75128418","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 order to develop a deeper understanding of speakability and its connection to the actual practice of stage translation, this study explores the rendition of Salieris monologues in the 1986 Beijing production of Peter Shaffers Amadeus. The study finds that speakability does not manifest itself in specific stylistic forms; nor would it be determined by the adoption of any particular translation strategy. Rather, its conceptualization could be deeply embedded in the translators reading of the given dramatic roles and circumstances. This would make the translated playtext a so-called hypothetical performance text incorporated with the translators own hypothetical mise en scne. The process of testing speakability through the actors verbalization is also one where the translators hypothetical mise en scne is evaluated. By tracking the verbal changes made from page to stage, this study shows how the process could be influenced by the negotiation with and between the translational and the theatrical norms governing the different phases of the production, and how a stage translator could make greater contribution to the process.
{"title":"From speakability to hypothetical mise en scène: A Chinese rendition of monologues from Peter Shaffer’s Amadeus from page to stage","authors":"Yichen Yang","doi":"10.1386/jafp_00014_1","DOIUrl":"https://doi.org/10.1386/jafp_00014_1","url":null,"abstract":"In order to develop a deeper understanding of speakability and its connection to the actual practice of stage translation, this study explores the rendition of Salieris monologues in the 1986 Beijing production of Peter Shaffers Amadeus. The study finds that speakability does\u0000 not manifest itself in specific stylistic forms; nor would it be determined by the adoption of any particular translation strategy. Rather, its conceptualization could be deeply embedded in the translators reading of the given dramatic roles and circumstances. This would make the translated\u0000 playtext a so-called hypothetical performance text incorporated with the translators own hypothetical mise en scne. The process of testing speakability through the actors verbalization is also one where the translators hypothetical mise en scne is evaluated. By tracking the verbal\u0000 changes made from page to stage, this study shows how the process could be influenced by the negotiation with and between the translational and the theatrical norms governing the different phases of the production, and how a stage translator could make greater contribution to the process.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"29 1","pages":"79-90"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76141284","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}
Jan Švankmajer’s recent Insect (Hmyz, 2018) is a work of film adaptation which functions as both an homage to Karel (and Josef) Čapek’s problematic avant-gardism and critique of some of the Čapek brothers’ own compromises during the production of their play, From the Life of the Insects (Ze života hmyzu, 1922). In the light of Švankmajer’s homage and critique, the article revisits Čapek’s avant-gardism and seeks to recuperate some of the more radical, and easily overlooked, aspects in Čapek’s work in the early 1920s. It goes on to discuss Švankmajer’s own career of multiple film adaptations, before concluding with a critical evaluation of his latest (and arguably last) Čapek-inspired film, read within the context of Švankmajer’s liberational cinematic project.
Jan Švankmajer最近的《昆虫》(Hmyz, 2018)是一部电影改编作品，既是对卡雷尔(和约瑟夫)Čapek有问题的前卫主义的致敬，也是对Čapek兄弟在制作他们的戏剧《来自昆虫的生活》(Ze života hmyzu, 1922)期间的一些妥协的批评。鉴于Švankmajer的致敬和批判，本文重新审视了Čapek的前卫主义，并试图恢复Čapek在20世纪20年代早期作品中一些更激进、更容易被忽视的方面。接着讨论了Švankmajer自己的多部电影改编事业，最后对他最新(也可以说是最后一部)的Čapek-inspired电影进行了批判性评价，在Švankmajer的解放电影项目的背景下阅读。
{"title":"The ‘insectuous’ brothers: Karel Čapek’s and Jan Švankmajer’s avantgardism(s) and the limits of humanism","authors":"David Vichnar","doi":"10.1386/jafp_00013_1","DOIUrl":"https://doi.org/10.1386/jafp_00013_1","url":null,"abstract":"Jan Švankmajer’s recent Insect (Hmyz, 2018) is a work of film adaptation which functions as both an homage to Karel (and Josef) Čapek’s problematic avant-gardism and critique of some of the Čapek brothers’ own compromises during the\u0000 production of their play, From the Life of the Insects (Ze života hmyzu, 1922). In the light of Švankmajer’s homage and critique, the article revisits Čapek’s avant-gardism and seeks to recuperate some of the more radical, and easily overlooked,\u0000 aspects in Čapek’s work in the early 1920s. It goes on to discuss Švankmajer’s own career of multiple film adaptations, before concluding with a critical evaluation of his latest (and arguably last) Čapek-inspired film, read within the context of Švankmajer’s\u0000 liberational cinematic project.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"4 1","pages":"65-77"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86589161","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}
Nordic Noir’s progenitorThe Man on the Balconyfrom 1967 critiques social democracy from a Marxist viewpoint. The novel’s 1993 film adaptation, however, reuses the same crime to challenge neo-liberal globalization. From a story perspective, this is a drastic deviation from ideological fidelity. But a systems perspective shows that the adaptation adheres to functional fidelity for crime fiction as a medium for social discourse. By examining how the two works engage their respective eras’ contemporary issues, we see how Nordic Noir has become a mediator of error correction for Sweden as a social system. Adaptations are therefore expected to show greater fidelity to format than to content, which a systems approach can help facilitate. This perspective also suggests that our nation states – as we lose shared arenas for cultural discourse – will adapt less effectively to changes because it becomes harder to agree on what is real and what is fake.
{"title":"Adapting social change: Swedish crime fiction as a medium for system correction","authors":"Mads Larsen","doi":"10.1386/jafp_00011_1","DOIUrl":"https://doi.org/10.1386/jafp_00011_1","url":null,"abstract":"Nordic Noir’s progenitorThe Man on the Balconyfrom 1967 critiques social democracy from a Marxist viewpoint. The novel’s 1993 film adaptation, however, reuses the same crime to challenge neo-liberal globalization. From a story perspective, this is a drastic deviation from ideological fidelity. But a systems perspective shows that the adaptation adheres to functional fidelity for crime fiction as a medium for social discourse. By examining how the two works engage their respective eras’ contemporary issues, we see how Nordic Noir has become a mediator of error correction for Sweden as a social system. Adaptations are therefore expected to show greater fidelity to format than to content, which a systems approach can help facilitate. This perspective also suggests that our nation states – as we lose shared arenas for cultural discourse – will adapt less effectively to changes because it becomes harder to agree on what is real and what is fake.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"56 1","pages":"37-50"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81619191","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":"Shakespeare’s Literary Lives: The Author as Character in Fiction and Films, P. Franssen (2016)","authors":"A. Natale","doi":"10.1386/jafp_00018_5","DOIUrl":"https://doi.org/10.1386/jafp_00018_5","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"2014 1","pages":"103-103"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86757586","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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