Pub Date : 2021-01-22DOI: 10.1093/ADAPTATION/APAA041
Kin Szeto
This article examines The Foreigner, the 2017 film adaptation of British novelist Stephen Leather’s The Chinaman (1992), starring the Hong Kong/Chinese martial arts film star Jackie Chan. The film reveals a cosmopolitical cinematic revision that foregrounds the contradictions and paradoxes of Yellow Peril, present when the film was made, during the time of Brexit in the United Kingdom. By investigating Chan’s screen persona, which has roots in Hong Kong/Chinese martial arts cinema, I focus on how the film derives and builds upon Chan’s transnational status as a cinema icon to critically engage with the conventional Yellow Peril narrative.
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Pub Date : 2021-01-20DOI: 10.1093/ADAPTATION/APAA037
Philip Gilreath
Julie Taymor’s 2010 film adaptation of William Shakespeare’s The Tempest raises questions about how adaptation theory and film authorship are often constructed along perceptions of gender. Despite positive reactions to Helen Mirren’s performance as a re-gendered Prospera, the film was critically panned on release. Critics and reviewers criticized Taymor’s film technique, accusing the director of reveling in stylistic excess and relying too heavily on intrusive digital effects that overshadowed the imagination and language of the Folio play-text. These critiques draw attention to what this article suggests is most crucial to Taymor’s adaptation. This article argues that Taymor’s blending of the naturalistic with the artificial represent a deliberate style that emphasizes the collaborative processes of adaptation. Taymor’s intercutting of digital effects and naturalistic footage emphasize the hybrid authorship of film technique—a trait embodied in Ben Whishaw’s performance as the spirit Ariel. The re-gendering of Prospera furthermore situates the film against the grain of the historically gendered and romanticized conception of the film auteur as a stable and overriding masculine genius.
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Pub Date : 2021-01-01DOI: 10.1093/adaptation/apab020
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Pub Date : 2021-01-01DOI: 10.1093/adaptation/apab019
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Pub Date : 2020-12-28DOI: 10.1093/adaptation/apaa040
Margaret A. Toth, Teresa Ramoni
This essay analyzes Vera Caspary’s novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a ‘subject’ or short melodic phrase and its various ‘answers’—in other words, variations that maintain elements of the melody but also play with and revise it—how might we position the film as a variation on, rather than a reproduction of, Caspary’s novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn’t want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film—not simply the dialogue but also the voiceover narration and David Raksin’s groundbreaking score—allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances that get lost in a strict fidelity approach; in particular, we can identify both works’ feminist content, especially their attempts to decentre patriarchal hard-boiled conventions and to confound notions of a singular truth.
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Pub Date : 2020-12-28DOI: 10.1093/adaptation/apaa035
J. Hoydis
Completing his trilogy of adaptations of Shakespearean tragedies, Indian director Vishal Bhardwaj’s film Haider (2014) tackles Hamlet. A generic fusion of realist drama, Bollywood movie, and espionage thriller, the film intersects the Elizabethan source text’s revenge plot with intertextual references to journalist Basharat Peer’s contemporary war memoir Curfewed Nights (2011), detailing the realities in insurgency-torn Kashmir in the 1990s. Taking its cue from the film’s controversial reception, which runs the gamut from censorship, appraisals, and criticism that Indian film does not need the ‘crutch’ of Hamlet to claim attention, this article explores questions about border-crossing, violence, and reconciliation raised on the level of form and content. Haider presents an adaptation of not one but two source texts: one ‘global’ and one ‘local’. The result, this article argues, is astonishingly harmonious and the contested metaphors of adaptation theory and global Shakespeare studies, such as ‘appropriation’ or ‘indigenization’, apply less to it than that of a transcultural ‘contact zone’ (Pratt, Mary Louise. Imperial Eyes. Travel Writing and Transculturation, 2nd. ed. London and New York: Routledge, 2008) and of a ‘crossmapping’ (Bronfen, Elisabeth. Crossmappings. On Visual Culture. London and New York: I.B. Tauris, 2018). By placing greater emphasis on communality and having the ending turn from revenge to forgiveness, Haider interrogates the transcultural appeal of Hamlet, drawing attention to histories of violent conflict. It also reveals a revisionist agenda that captures both hidden political realities and a haunting refiguration of Shakespeare.
印度导演Vishal Bhardwaj的电影《海德尔》（2014）完成了改编莎士比亚悲剧的三部曲，讲述了哈姆雷特的故事。这部电影融合了现实主义戏剧、宝莱坞电影和间谍惊悚片，将伊丽莎白时代的原始文本的复仇情节与记者巴沙拉特·皮尔的当代战争回忆录《宵禁之夜》（2011）的互文参考相交叉，详细描述了20世纪90年代饱受叛乱蹂躏的克什米尔的现实。这篇文章以这部电影备受争议的反响为线索，从审查、评价到批评，印度电影不需要哈姆雷特的“拐杖”来引起关注，从形式和内容层面探讨了有关越境、暴力和和解的问题。海德尔提出了一个不是一个而是两个来源文本的改编：一个是“全球”，一个是一个“本地”。这篇文章认为，结果是惊人的和谐，改编理论和全球莎士比亚研究中有争议的隐喻，如“挪用”或“本土化”，比跨文化的“接触区”应用得更少（Pratt，Mary Louise。Imperial Eyes。Travel Writing and Transculturation，第二版。伦敦和纽约：Routledge，2008）和“交叉映射”（Bronfen，Elisabeth。交叉映射。视觉文化论。伦敦和纽约，I.B.Tauris，2018）。海德尔更加强调共同性，并将结局从复仇转向宽恕，从而质疑哈姆雷特的跨文化吸引力，引起人们对暴力冲突历史的关注。它还揭示了一个修正主义议程，既抓住了隐藏的政治现实，也抓住了莎士比亚令人难忘的重塑。
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Pub Date : 2020-12-21DOI: 10.1093/adaptation/apaa036
B. O’Connell
At a historical moment in which we attempt to come to grips with the legacy of racial inequality, this essay considers two twenty-first-century adaptations of Chaucer’s ‘Man of Law’s Tale’, which respond to the xenophobic and imperialist ideology of the original by representing its noble white heroine as a black asylum seeker, and replacing the dynastic genealogy of Chaucer’s tale with a celebration of an inter-racial marriage that defies cultural norms. Chaucer’s text might not seem promising for modern adaptation: its passive heroine embodies the abstract principle of constancy, and the action of the tale serves an ideological purpose that seems, to modern eyes, to be profoundly and unpleasantly imperialist, xenophobic, and Islamophobic. And yet, the 2003 BBC adaptation made the work remarkably legible for a twenty-first-century audience, by highlighting, rather than suppressing, the tale’s concerns with issues of family, race, and religion, and by imagining its central heroine as a Nigerian Christian, fleeing religious persecution. These concerns with migration and racial and religious intolerance are developed brilliantly in Patience Agbabi’s Telling Tales, a poetic revision of Chaucer’s work as filtered through the lens of the television adaptation. In these texts, mixed marriages become a powerful tool with which to challenge the racist legacy of the past and to interrogate the relationship of the adaptation to its canonical forebears.
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Pub Date : 2020-12-21DOI: 10.1093/adaptation/apaa039
S. Heinz
This essay explores the connection between adaptation and parable in Chigozie Obioma’s debut novel The Fishermen (2015). Obioma’s adaptation of parable revises this narrative form as radically relational. This revision of parable is tied to an equally relational understanding of adaptive processes. Using parable as the frame for its complex mixture of Igbo and Yoruba mythology, Biblical stories, and Greek and Roman myth, among others, enables the novel to reinterpret all these sources in the context of postcolonial Nigeria. This process thereby challenges the belief that we can dispel colonial power structures by simply rejecting canonical stories and their discursive frameworks and it suggests, instead, a notion of identity as relational and transient. Ultimately, the novel proposes an ethics of relationality that can help to re-assess processes of revision and their political and cultural impact.
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Pub Date : 2020-11-21DOI: 10.1093/adaptation/apaa003
Irina Melnikova
This essay focuses on the ‘desire trilogy’ by Italian director Luca Guadagnino to reveal how it embodies nostalgic longing in its discursive structure. The essay examines how the films address matters of nostalgia and adaptation, how they trace an ‘absent presence’ and refer to one another, how they configure the hypertextual, intertextual, and architextual dialogue with other texts and media and use multimodal strategies that engage in ‘nostalgic desire’ for the cultural past. The analysis pays special attention to the mediation modes of intertextual references, reconfiguring the concepts of Gérard Genette within the framework of Lars Elleström’s concept of intermediality as intermodality, based on the semiotics of Charles Sanders Peirce. The study proposes an intermodal approach to the issue of intertextuality and intermediality, exposing the ways in which the engagement of modal strategies in a transtextual dialogue is (or can be) related to the construction of (archi)textual ‘self’.
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Pub Date : 2020-11-21DOI: 10.1093/adaptation/apz028
Eric Sandberg
This essay examines Thomas Pynchon’s 2009 Inherent Vice and Paul Thomas Anderson’s 2014 adaptation of the novel. These works are closely connected, and can be effectively viewed as two parts of a single transmedia text which includes a novel, a film, and two trailers. All of the constituent parts of this meta-Inherent Vice are informed by their engagement with nostalgia. Yet it is precisely here that the texts diverge from each other most markedly, activating different types of nostalgia for different purposes. While much contemporary scholarship relies on Svetlana Boym’s reflective/restorative binary to conceptualize the phenomenon of nostalgia, this reading argues that a public/personal divide offers another perhaps more appropriate lens to view the differences between the two versions of Inherent Vice. Pynchon’s novel emphasizes the political potential and social aspects of nostalgia, while Anderson’s film focuses on its personal, affective impact.
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