Nameless city, faceless man: choices and strategies in the movie adaptation of The double
Autor(a) principal: | |
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Data de Publicação: | 2022 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Abril (Niterói) |
Texto Completo: | https://periodicos.uff.br/revistaabril/article/view/54724 |
Resumo: | When it hit theaters in 2013, Enemy, a Spanish-Canadian film directed by Denis Villeneuve that adapts the novel O homem duplicado (2002), by Portuguese writer José Samarago, radically divided critics and audiences. Enemy’s experimental, dark and psychological character also called into question his own fidelity to Saramago’s source text, who, as is common knowledge, is also used to experimenting in prose. In view of the innovative and bold potentialities of the film and the novel, each in its own territory and with its own artifices, what we propose in this article is a study, from the perspective of Adaptation Theories, on the adaptive strategies employed in the remediation process (BOLTER; GRUSIN, 2000) from Saramago’s novel for the cinematographic language. Therefore, we intend to carry out an immanent reading based on the formal and thematic aspects of the two works: alterations and permanence of narrative and imagery elements; formal, symbolic and thematic ruptures and continuities, in addition to the choices and resources of cinematographic language used by the adapters in Enemy, as well as their (possible) motivations. The scope of our analysis is mainly focused on two unusual elements of the novel that were maintained by Villeneuve during the intersemiotic translation process (PLAZA, 2003): the modern city as an unsettling, suffocating and labyrinthine space that dwarfs individuals and takes away their identity; and the cultural, literary and psychoanalytic archetype (RANK, 2013) of the double. |
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Nameless city, faceless man: choices and strategies in the movie adaptation of The doubleCidade sem nome, homem sem face: escolhas e estratégias na adaptação fílmica de O homem duplicadoThe DoubleEnemyAdaptationRemediationO homem duplicadoEnemyAdaptaçãoRemidiaçãoWhen it hit theaters in 2013, Enemy, a Spanish-Canadian film directed by Denis Villeneuve that adapts the novel O homem duplicado (2002), by Portuguese writer José Samarago, radically divided critics and audiences. Enemy’s experimental, dark and psychological character also called into question his own fidelity to Saramago’s source text, who, as is common knowledge, is also used to experimenting in prose. In view of the innovative and bold potentialities of the film and the novel, each in its own territory and with its own artifices, what we propose in this article is a study, from the perspective of Adaptation Theories, on the adaptive strategies employed in the remediation process (BOLTER; GRUSIN, 2000) from Saramago’s novel for the cinematographic language. Therefore, we intend to carry out an immanent reading based on the formal and thematic aspects of the two works: alterations and permanence of narrative and imagery elements; formal, symbolic and thematic ruptures and continuities, in addition to the choices and resources of cinematographic language used by the adapters in Enemy, as well as their (possible) motivations. The scope of our analysis is mainly focused on two unusual elements of the novel that were maintained by Villeneuve during the intersemiotic translation process (PLAZA, 2003): the modern city as an unsettling, suffocating and labyrinthine space that dwarfs individuals and takes away their identity; and the cultural, literary and psychoanalytic archetype (RANK, 2013) of the double.Ao chegar aos cinemas em 2013, Enemy, filme hispano-canadense dirigido por Denis Villeneuve que adapta o romance O homem duplicado (2002), do escritor português José Samarago, dividiu radicalmente crítica e público. O caráter experimental, soturno e psicológico de Enemy também colocou em xeque sua própria fidelidade ao texto fonte de Saramago, que, como é de conhecimento comum, também é afeito às experimentações na prosa. Em face das potencialidades inovantes e arrojadas do filme e do romance, cada um em seu próprio território e com seus próprios artifícios, o que propomos nesse artigo é um estudo, pelo viés das Teorias da Adaptação, sobre as estratégias adaptativas empregadas no processo de remidiação (BOLTER; GRUSIN, 2000) d’O homem duplicado de Saramago para a linguagem cinematográfica. Para tanto, pretendemos realizar uma leitura imanente pautada nos aspectos formais e temáticos das duas obras: alterações e permanências de elementos narrativos e imagéticos; rupturas e continuidades formais, simbólicas e temáticas, além das escolhas e recursos da linguagem cinematográfica empregados pelos adaptadores em Enemy, bem como suas (possíveis) motivações. O escopo da nossa análise está voltado sobretudo para dois elementos insólitos do romance que foram mantidos por Villeneuve durante o processo de tradução intersemiótica (PLAZA, 2003): a cidade moderna como espaço inquietante, sufocante e labiríntico que apequena os indivíduos e retira-lhes a identidade; e o arquétipo cultural, literário e psicanalítico (RANK, 2013) do duplo.ABEC Brasil2022-10-31info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionPeer-reviewed ArticleArtigo avaliado por paresapplication/pdfhttps://periodicos.uff.br/revistaabril/article/view/5472410.22409/abriluff.v14i29.54724ABRIL – NEPA / UFF; Vol. 14 No. 29 (2022): Literature and other arts; 119-141Abril – NEPA / UFF; v. 14 n. 29 (2022): Literatura e outras artes; 119-1411984-209010.22409/abriluff.v14i29reponame:Abril (Niterói)instname:Universidade Federal Fluminense (UFF)instacron:UFFporhttps://periodicos.uff.br/revistaabril/article/view/54724/33108Copyright (c) 2022 Abril – NEPA / UFFhttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessRodrigues Júnior, Edson José2022-11-01T11:24:06Zoai:ojs.pkp.sfu.ca:article/54724Revistahttps://periodicos.uff.br/revistaabrilPUBhttps://periodicos.uff.br/revistaabril/oairevistaabril@vm.uff.br||nepa@vm.uff.br||uffnepa@gmail.com||idafalves@gmail.com1984-20901984-2090opendoar:2022-11-01T11:24:06Abril (Niterói) - Universidade Federal Fluminense (UFF)false |
dc.title.none.fl_str_mv |
Nameless city, faceless man: choices and strategies in the movie adaptation of The double Cidade sem nome, homem sem face: escolhas e estratégias na adaptação fílmica de O homem duplicado |
title |
Nameless city, faceless man: choices and strategies in the movie adaptation of The double |
spellingShingle |
Nameless city, faceless man: choices and strategies in the movie adaptation of The double Rodrigues Júnior, Edson José The Double Enemy Adaptation Remediation O homem duplicado Enemy Adaptação Remidiação |
title_short |
Nameless city, faceless man: choices and strategies in the movie adaptation of The double |
title_full |
Nameless city, faceless man: choices and strategies in the movie adaptation of The double |
title_fullStr |
Nameless city, faceless man: choices and strategies in the movie adaptation of The double |
title_full_unstemmed |
Nameless city, faceless man: choices and strategies in the movie adaptation of The double |
title_sort |
Nameless city, faceless man: choices and strategies in the movie adaptation of The double |
author |
Rodrigues Júnior, Edson José |
author_facet |
Rodrigues Júnior, Edson José |
author_role |
author |
dc.contributor.author.fl_str_mv |
Rodrigues Júnior, Edson José |
dc.subject.por.fl_str_mv |
The Double Enemy Adaptation Remediation O homem duplicado Enemy Adaptação Remidiação |
topic |
The Double Enemy Adaptation Remediation O homem duplicado Enemy Adaptação Remidiação |
description |
When it hit theaters in 2013, Enemy, a Spanish-Canadian film directed by Denis Villeneuve that adapts the novel O homem duplicado (2002), by Portuguese writer José Samarago, radically divided critics and audiences. Enemy’s experimental, dark and psychological character also called into question his own fidelity to Saramago’s source text, who, as is common knowledge, is also used to experimenting in prose. In view of the innovative and bold potentialities of the film and the novel, each in its own territory and with its own artifices, what we propose in this article is a study, from the perspective of Adaptation Theories, on the adaptive strategies employed in the remediation process (BOLTER; GRUSIN, 2000) from Saramago’s novel for the cinematographic language. Therefore, we intend to carry out an immanent reading based on the formal and thematic aspects of the two works: alterations and permanence of narrative and imagery elements; formal, symbolic and thematic ruptures and continuities, in addition to the choices and resources of cinematographic language used by the adapters in Enemy, as well as their (possible) motivations. The scope of our analysis is mainly focused on two unusual elements of the novel that were maintained by Villeneuve during the intersemiotic translation process (PLAZA, 2003): the modern city as an unsettling, suffocating and labyrinthine space that dwarfs individuals and takes away their identity; and the cultural, literary and psychoanalytic archetype (RANK, 2013) of the double. |
publishDate |
2022 |
dc.date.none.fl_str_mv |
2022-10-31 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article Artigo avaliado por pares |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.uff.br/revistaabril/article/view/54724 10.22409/abriluff.v14i29.54724 |
url |
https://periodicos.uff.br/revistaabril/article/view/54724 |
identifier_str_mv |
10.22409/abriluff.v14i29.54724 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.uff.br/revistaabril/article/view/54724/33108 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2022 Abril – NEPA / UFF https://creativecommons.org/licenses/by-nc/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2022 Abril – NEPA / UFF https://creativecommons.org/licenses/by-nc/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
ABEC Brasil |
publisher.none.fl_str_mv |
ABEC Brasil |
dc.source.none.fl_str_mv |
ABRIL – NEPA / UFF; Vol. 14 No. 29 (2022): Literature and other arts; 119-141 Abril – NEPA / UFF; v. 14 n. 29 (2022): Literatura e outras artes; 119-141 1984-2090 10.22409/abriluff.v14i29 reponame:Abril (Niterói) instname:Universidade Federal Fluminense (UFF) instacron:UFF |
instname_str |
Universidade Federal Fluminense (UFF) |
instacron_str |
UFF |
institution |
UFF |
reponame_str |
Abril (Niterói) |
collection |
Abril (Niterói) |
repository.name.fl_str_mv |
Abril (Niterói) - Universidade Federal Fluminense (UFF) |
repository.mail.fl_str_mv |
revistaabril@vm.uff.br||nepa@vm.uff.br||uffnepa@gmail.com||idafalves@gmail.com |
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1799695309682507776 |