Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivity
Autor(a) principal: | |
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Data de Publicação: | 2012 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Soletras (São Gonçalo. Online) |
Texto Completo: | https://www.e-publicacoes.uerj.br/soletras/article/view/5026 |
Resumo: | Sanders (2006) and Hutcheon (2006) are among the many adaptation theorists whochallenge the criterion of ‘fidelity’, and yet a frequent response to Martin Scorsese’sAcademy Award-winning film Hugo is that it is faithful to Brian Selznick’s Caldecott Medalwinningbook The invention of Hugo Cabret. This paper argues that in each case the mediumdetermines a significant difference in the construction of subjectivity. The book’spreoccupation with theft indicates a Lacanian concern with the origin of subjectivity and theimplied author’s subtextual guilt about his dependence on the work of another artist. Thefilm’s shift in emphasis to the necessity of relationships and family, however, parallelsKristeva’s assumption that intertextuality is inevitable. As Geraghty (2009) points out,adaptation is by definition dependent on another text. Consequently, Scorsese’s Hugo ignoresthe book’s concern with originality and, at a time when cinema is again being repositioned bytechnological change, celebrates the continuity and heritage of the medium. |
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Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivityHugo. Brian Selznick. Martin Scorsese. Subjectivity. Adaptation.Sanders (2006) and Hutcheon (2006) are among the many adaptation theorists whochallenge the criterion of ‘fidelity’, and yet a frequent response to Martin Scorsese’sAcademy Award-winning film Hugo is that it is faithful to Brian Selznick’s Caldecott Medalwinningbook The invention of Hugo Cabret. This paper argues that in each case the mediumdetermines a significant difference in the construction of subjectivity. The book’spreoccupation with theft indicates a Lacanian concern with the origin of subjectivity and theimplied author’s subtextual guilt about his dependence on the work of another artist. Thefilm’s shift in emphasis to the necessity of relationships and family, however, parallelsKristeva’s assumption that intertextuality is inevitable. As Geraghty (2009) points out,adaptation is by definition dependent on another text. Consequently, Scorsese’s Hugo ignoresthe book’s concern with originality and, at a time when cinema is again being repositioned bytechnological change, celebrates the continuity and heritage of the medium.Universidade do Estado do Rio de Janeiro2012-12-19info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.e-publicacoes.uerj.br/soletras/article/view/502610.12957/soletras.2012.5026SOLETRAS; No. 24 (2012): Leituras intersemióticas; 26-37SOLETRAS; N. 24 (2012): Leituras intersemióticas; 26-37SOLETRAS; n. 24 (2012): Leituras intersemióticas; 26-37Revista Soletras; Núm. 24 (2012): Leituras intersemióticas; 26-37SOLETRAS; No. 24 (2012): Leituras intersemióticas; 26-372316-88381519-7778reponame:Soletras (São Gonçalo. Online)instname:Universidade do Estado do Rio de Janeiro (UERJ)instacron:UERJporhttps://www.e-publicacoes.uerj.br/soletras/article/view/5026/3697Macleod, Markinfo:eu-repo/semantics/openAccess2018-06-26T19:17:39Zoai:ojs.www.e-publicacoes.uerj.br:article/5026Revistahttps://www.e-publicacoes.uerj.br/index.php/soletrasPUBhttps://www.e-publicacoes.uerj.br/index.php/soletras/oai||soletrasonline@yahoo.com.br|| paulo.centrorio@uol.com.br|| maricrisribas@uol.com.br2316-88381519-7778opendoar:2018-06-26T19:17:39Soletras (São Gonçalo. Online) - Universidade do Estado do Rio de Janeiro (UERJ)false |
dc.title.none.fl_str_mv |
Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivity |
title |
Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivity |
spellingShingle |
Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivity Macleod, Mark Hugo. Brian Selznick. Martin Scorsese. Subjectivity. Adaptation. |
title_short |
Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivity |
title_full |
Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivity |
title_fullStr |
Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivity |
title_full_unstemmed |
Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivity |
title_sort |
Brian Selznick’s The invention of Hugo Cabret, Martin Scorsese’s Hugo, and the theft of subjectivity |
author |
Macleod, Mark |
author_facet |
Macleod, Mark |
author_role |
author |
dc.contributor.author.fl_str_mv |
Macleod, Mark |
dc.subject.por.fl_str_mv |
Hugo. Brian Selznick. Martin Scorsese. Subjectivity. Adaptation. |
topic |
Hugo. Brian Selznick. Martin Scorsese. Subjectivity. Adaptation. |
description |
Sanders (2006) and Hutcheon (2006) are among the many adaptation theorists whochallenge the criterion of ‘fidelity’, and yet a frequent response to Martin Scorsese’sAcademy Award-winning film Hugo is that it is faithful to Brian Selznick’s Caldecott Medalwinningbook The invention of Hugo Cabret. This paper argues that in each case the mediumdetermines a significant difference in the construction of subjectivity. The book’spreoccupation with theft indicates a Lacanian concern with the origin of subjectivity and theimplied author’s subtextual guilt about his dependence on the work of another artist. Thefilm’s shift in emphasis to the necessity of relationships and family, however, parallelsKristeva’s assumption that intertextuality is inevitable. As Geraghty (2009) points out,adaptation is by definition dependent on another text. Consequently, Scorsese’s Hugo ignoresthe book’s concern with originality and, at a time when cinema is again being repositioned bytechnological change, celebrates the continuity and heritage of the medium. |
publishDate |
2012 |
dc.date.none.fl_str_mv |
2012-12-19 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.e-publicacoes.uerj.br/soletras/article/view/5026 10.12957/soletras.2012.5026 |
url |
https://www.e-publicacoes.uerj.br/soletras/article/view/5026 |
identifier_str_mv |
10.12957/soletras.2012.5026 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://www.e-publicacoes.uerj.br/soletras/article/view/5026/3697 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade do Estado do Rio de Janeiro |
publisher.none.fl_str_mv |
Universidade do Estado do Rio de Janeiro |
dc.source.none.fl_str_mv |
SOLETRAS; No. 24 (2012): Leituras intersemióticas; 26-37 SOLETRAS; N. 24 (2012): Leituras intersemióticas; 26-37 SOLETRAS; n. 24 (2012): Leituras intersemióticas; 26-37 Revista Soletras; Núm. 24 (2012): Leituras intersemióticas; 26-37 SOLETRAS; No. 24 (2012): Leituras intersemióticas; 26-37 2316-8838 1519-7778 reponame:Soletras (São Gonçalo. Online) instname:Universidade do Estado do Rio de Janeiro (UERJ) instacron:UERJ |
instname_str |
Universidade do Estado do Rio de Janeiro (UERJ) |
instacron_str |
UERJ |
institution |
UERJ |
reponame_str |
Soletras (São Gonçalo. Online) |
collection |
Soletras (São Gonçalo. Online) |
repository.name.fl_str_mv |
Soletras (São Gonçalo. Online) - Universidade do Estado do Rio de Janeiro (UERJ) |
repository.mail.fl_str_mv |
||soletrasonline@yahoo.com.br|| paulo.centrorio@uol.com.br|| maricrisribas@uol.com.br |
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1799318599087685632 |