A Critical Study and Analysis on theory and practices in Cinematic adaptation
Article Sidebar
Main Article Content
Abstract
When communicating a message to a listener or reader whose mother tongue is not the same as our own, especially when that person does not even understand the language, we must use different ways or methods to get the message across as clearly as possible. While we can use gestures, signs, or noises in order to make ourselves understood, when communicating something written, we must turn to translators. One of the tools used in translation is adaptation. It is used in many cases, as cultural differences between different speakers can cause confusion that can sometimes be tricky to understand or simply prevent us from understanding each other. This paper will analyse and will discuss the paradox in the theory of adaptation.
Downloads
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
References
Oxford English Dictionary, “adaptation”, accessed June 23 2016, http://www.oed.com
Murray, Simone. The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. New York & London: Routledge, 2012. p. 186.
https://lucian.uchicago.edu/blogs/mediatheory/keywords/adaptation/
Hutcheon, Linda. A Theory of Adaptation. London & New York: Routledge, 2006. p. 32
Ibid p. 42-3
Bruhn, Jorgen. Anne Gjelsvik, Eirik Hanssen. Adaptation Studies: New Challenges, New Directions. London & NY: Bloomsbury, 2013. p. 9.
Linda Hutcheon. A Theory of Adaptation. London & New York: Routledge, 2006. 8-9
Andre Bazin, “Adaptation, or the Cinema as Digest”, in Film Adaptation. (ed James Naremore) New Jersey: Rutgers, 2008. 23-4
Thomas Leitch, Film Adaptation and its Discontents: From Gone with the Wind to The Passion of the Christ. Baltimore/Maryland: John Hopkins University Press, 2007. 22.
Harrington, John. Film And/As Literature. New Jersey: Prentice-Hall, 1977