Is adaptation. Truly an adaptation?
Autor(a) principal: | |
---|---|
Data de Publicação: | 2006 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Ilha do Desterro |
Texto Completo: | https://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2006n51p217 |
Resumo: | The article begins by historicizing film adaptation from the arrival of cinema, pointing out the many theoretical approaches under which the process has been seen: from the concept of “the same story told in a different medium” to a comprehensible definition such as “the process through which works can be transformed, forming an intersection of textual surfaces, quotations, conflations and inversions of other texts”. To illustrate this new concept, the article discusses Spike Jonze’s film Adaptation. according to James Naremore’s proposal which considers the study of adaptation as part of a general theory of repetition, joined with the study of recycling, remaking, and every form of retelling. The film deals with the attempt by the scriptwriter Charles Kaufman, cast by Nicholas Cage, to adapt/translate a non-fictional book to the cinema, but ends up with a kind of film which is by no means what it intended to be: a film of action in the model of Hollywood productions. During the process of creation, Charles and his twin brother, Donald, undergo a series of adventures involving some real persons from the world of film, the author and the protagonist of the book, all of them turning into fictional characters in the film. In the film, adaptation then signifies something different from itstraditional meaning. |
id |
UFSC-9_7e3e1ceeb077d181895276f00061595c |
---|---|
oai_identifier_str |
oai:periodicos.ufsc.br:article/1500 |
network_acronym_str |
UFSC-9 |
network_name_str |
Ilha do Desterro |
repository_id_str |
|
spelling |
Is adaptation. Truly an adaptation?Is adaptation. Truly an adaptation?The article begins by historicizing film adaptation from the arrival of cinema, pointing out the many theoretical approaches under which the process has been seen: from the concept of “the same story told in a different medium” to a comprehensible definition such as “the process through which works can be transformed, forming an intersection of textual surfaces, quotations, conflations and inversions of other texts”. To illustrate this new concept, the article discusses Spike Jonze’s film Adaptation. according to James Naremore’s proposal which considers the study of adaptation as part of a general theory of repetition, joined with the study of recycling, remaking, and every form of retelling. The film deals with the attempt by the scriptwriter Charles Kaufman, cast by Nicholas Cage, to adapt/translate a non-fictional book to the cinema, but ends up with a kind of film which is by no means what it intended to be: a film of action in the model of Hollywood productions. During the process of creation, Charles and his twin brother, Donald, undergo a series of adventures involving some real persons from the world of film, the author and the protagonist of the book, all of them turning into fictional characters in the film. In the film, adaptation then signifies something different from itstraditional meaning.http://dx.doi.org/10.5007/2175-8026.2006n51p217The article begins by historicizing film adaptation from the arrival of cinema, pointing out the many theoretical approaches under which the process has been seen: from the concept of “the same story told in a different medium” to a comprehensible definition such as “the process through which works can be transformed, forming an intersection of textual surfaces, quotations, conflations and inversions of other texts”. To illustrate this new concept, the article discusses Spike Jonze’s film Adaptation. according to James Naremore’s proposal which considers the study of adaptation as part of a general theory of repetition, joined with the study of recycling, remaking, and every form of retelling. The film deals with the attempt by the scriptwriter Charles Kaufman, cast by Nicholas Cage, to adapt/translate a non-fictional book to the cinema, but ends up with a kind of film which is by no means what it intended to be: a film of action in the model of Hollywood productions. During the process of creation, Charles and his twin brother, Donald, undergo a series of adventures involving some real persons from the world of film, the author and the protagonist of the book, all of them turning into fictional characters in the film. In the film, adaptation then signifies something different from itstraditional meaning.UFSC2006-04-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2006n51p21710.5007/2175-8026.2006n51p217Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies; No. 51 (2006); 217-233Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies; n. 51 (2006); 217-2332175-80260101-4846reponame:Ilha do Desterroinstname:Universidade Federal de Santa Catarina (UFSC)instacron:UFSCporhttps://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2006n51p217/1240Copyright (c) 2006 Thais Flores Nogueira Dinizinfo:eu-repo/semantics/openAccessDiniz, Thais Flores Nogueira2022-11-21T14:16:23Zoai:periodicos.ufsc.br:article/1500Revistahttp://www.periodicos.ufsc.br/index.php/desterroPUBhttps://periodicos.ufsc.br/index.php/desterro/oaiilha@cce.ufsc.br||corseuil@cce.ufsc.br||ilhadodesterro@gmail.com2175-80260101-4846opendoar:2022-11-21T14:16:23Ilha do Desterro - Universidade Federal de Santa Catarina (UFSC)false |
dc.title.none.fl_str_mv |
Is adaptation. Truly an adaptation? Is adaptation. Truly an adaptation? |
title |
Is adaptation. Truly an adaptation? |
spellingShingle |
Is adaptation. Truly an adaptation? Diniz, Thais Flores Nogueira |
title_short |
Is adaptation. Truly an adaptation? |
title_full |
Is adaptation. Truly an adaptation? |
title_fullStr |
Is adaptation. Truly an adaptation? |
title_full_unstemmed |
Is adaptation. Truly an adaptation? |
title_sort |
Is adaptation. Truly an adaptation? |
author |
Diniz, Thais Flores Nogueira |
author_facet |
Diniz, Thais Flores Nogueira |
author_role |
author |
dc.contributor.author.fl_str_mv |
Diniz, Thais Flores Nogueira |
description |
The article begins by historicizing film adaptation from the arrival of cinema, pointing out the many theoretical approaches under which the process has been seen: from the concept of “the same story told in a different medium” to a comprehensible definition such as “the process through which works can be transformed, forming an intersection of textual surfaces, quotations, conflations and inversions of other texts”. To illustrate this new concept, the article discusses Spike Jonze’s film Adaptation. according to James Naremore’s proposal which considers the study of adaptation as part of a general theory of repetition, joined with the study of recycling, remaking, and every form of retelling. The film deals with the attempt by the scriptwriter Charles Kaufman, cast by Nicholas Cage, to adapt/translate a non-fictional book to the cinema, but ends up with a kind of film which is by no means what it intended to be: a film of action in the model of Hollywood productions. During the process of creation, Charles and his twin brother, Donald, undergo a series of adventures involving some real persons from the world of film, the author and the protagonist of the book, all of them turning into fictional characters in the film. In the film, adaptation then signifies something different from itstraditional meaning. |
publishDate |
2006 |
dc.date.none.fl_str_mv |
2006-04-30 |
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://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2006n51p217 10.5007/2175-8026.2006n51p217 |
url |
https://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2006n51p217 |
identifier_str_mv |
10.5007/2175-8026.2006n51p217 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufsc.br/index.php/desterro/article/view/2175-8026.2006n51p217/1240 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2006 Thais Flores Nogueira Diniz info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2006 Thais Flores Nogueira Diniz |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
UFSC |
publisher.none.fl_str_mv |
UFSC |
dc.source.none.fl_str_mv |
Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies; No. 51 (2006); 217-233 Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies; n. 51 (2006); 217-233 2175-8026 0101-4846 reponame:Ilha do Desterro instname:Universidade Federal de Santa Catarina (UFSC) instacron:UFSC |
instname_str |
Universidade Federal de Santa Catarina (UFSC) |
instacron_str |
UFSC |
institution |
UFSC |
reponame_str |
Ilha do Desterro |
collection |
Ilha do Desterro |
repository.name.fl_str_mv |
Ilha do Desterro - Universidade Federal de Santa Catarina (UFSC) |
repository.mail.fl_str_mv |
ilha@cce.ufsc.br||corseuil@cce.ufsc.br||ilhadodesterro@gmail.com |
_version_ |
1789434821577015296 |