An Adaptation Studies page

Example of Voltaire's rendering of "To be or not to be" in Lettres philosophiques

Tradaptation" : (a neologism coined by Michel Garneau in his Quebecois translation of Macbeth in 1981)

In Adaptation Studies (Stam, Hutcheon, Sanders, Leitch )

“Adaptation, in this [Bakhtinian] sense, is a work of reaccentuation, wherebt a souce work is reinterpreted through new grids and discourses. [[‘Every age reaccentuates in its own way the works of [the past]. The historical life of classic works is in fact the uninterrupted process of their social and ideological reaccentuation. (The Dialogical Imagination, U of Texas P, 1981, p. 421)]]” ( Stam2005b ‘Introduction’, p. 45)

“An acknowledged transposition of a recognizable other work or works.

A creative and an interpretive act of appropriation/salvaging.

An extended intertextual engagement with the adapted work." (H 8) -> a broader and more positive definition

"Adaptation can be a transpositional practice, casting a specific genre into another generic more" (Sanders 2006, p. 18)

"reinterpretations of established texts in new generic contexts or perhaps with relocations of an 'original' or source text's cultural and/or temporal setting, which may or may not involve a generic shift" (Sanders 2006, p. 19)

As product: announced, extensive, specific transcoding [transposition, reworking, reformatting, re-mediation] (H 16)

when to a different medium : intersemiotic transposition

What is not an adaptation? (H 170-72)

short intertextual allusion to other works

bits of sampled music

As process: creative interpretation / interpretive creation = adapters are first interpreters and then creators (H 18) [ like translators ]

As mode of engagement: telling mode, showing mode, interacting mode (virtual reality, theme parks)

- telling [verbal]: “immerses us through imagination in a fictional world” (H 22)

- showing : “... through the perception of the aural and the visual” (H 22)

- participatory : “ … physically and kinesthetically” (H23)

Negative views depend on the medium: Romeo and Juliet as opera or ballet is respected (high art forms), not so if as film (H 8)

A short history of Adaptation Studies:

Adaptation studies up to 1970s: assessment based on the basis of impressionistic fidelity criterion (Cardwell 2002, p. 45)

Adaptation studies now [Sanders 2006]  are not aimed at identifying 'good' or 'bad' adaptations. Adaptation studies are  "not about making polarized values judgements but about analysing process, ideology, and methodology"  (Sanders 2006, p. 20)

Not only “fidelity” to its source text: "it is usuallly at the very point of infidelity that the most creative acts of adaptation and appropriation take place" (Sanders 2006, p. 20)

Association of Adaptation Studies created in 2006 (first as Literature on Screen Studies)

The journals Adaptation and Journal of Adaptation in Film and Performance launched in 2008.

 CONCEPTS

From post-structuralism: intertextuality (Barthes “From Work to Text”, Kirsteva Semiotike)

against Romantic idea of originality, and uniqueness

"any text is an intertext" (Barthes "The Theory of Text" 1981, p. 39 in Young Untying),

any text is a hypertext, grafting itself onto a hypotext, an earlier text that it imitates and transforms (Genette 1997: ix ; note the grafting metaphor)

authors are not the only producers of meaning but also readers create "their own intertextual networks" (Sanders p. 2, on Barthes)

texts as sites of intertextual relations with other texts

“texts are mosaics of citation that are visible and invisible” (H 21)

“So, too, are adaptations, but with the proviso that they are also acknowledged as adaptation of specific texts” (H 21)

palimpsest (Genette 1997)

“palimpsestuous intertextuality” : when the audience remembers past productions of the same play or ballet

From Translation Studies:  (see Aragay 2005, Venuti 2007,

Polysystem theory (Even-Zohar): ( Cattrysse 2014, Perdikaki 2017)

Skopos (purpose) theory: (Raw 2011)

Translation shifts: -> adaptation shifts (Perdikaki 2017)

Adaptations [like translations ] may reveal about the context of production and reception

E.g. Dr Jekyll and Mr Hyde, novella by Robert Louis Stevenson

1920 film dir. By John Robertson (prohibition era, sexual fall through alcohol),

1971 filmDr Jekyl and Sister Hyde , dir. by Roy Baker: Britain's confused responses to feminism after the 1960s (H 26)

Sociological turn in adaptation studies (Andrew 1984, p. 104)

The choices of the mode of adaptation and of [literary] prototypes suggest a great deal about the cinema’s sense of its role and aspirations from decade to decade

The stylistic strategies developed to achieve the proportional equivalences necessary to construct matching stories not only are symptomatic of a period’s style but may crucially alter that style (104)

From Cultural Studies:

“Memes” (Dawkins The Selfish Gene 1976) : unit of cultural transmission or units of imitation... like genes, they are replicators (Dawkins 191-2) but unlike genes, they change to adapt for survival ->

Hutcheon proposes “popularity, persistence, diversity, extent of dissemination” (Theory xxvi)

Hutcheon draws analogy with biology: a successful adaptation replicates itself and changes

Financial reasons may lie behind adaptations: “at times of economic down-turn adapters turn to safe bets” (H 5)

The pleasure principle:

"Adaptation into another medium becomes a means of prolonging the pleasure of the original presentation, and repeating the production of a memory" (Ellis 1982: 4-5)

“Part of the pleasure, I want to argue, comes simply from repetition with variation, from the comfort of ritual combined with the piquancy of surprise” (H 4)

"it is the very endurance and survival of the source text that enables the ongoing process of juxtaposed readings that are crucial to the cultural operations of adaptation, produced in part by the activation of our informed sense of similarity and difference between the text being invoked, and the conected interplay of expectation and surprise, that for me lies at the heart of the experience of adaptation and appropriation" (Sanders 2006: 25)

“storytelling is always the art of repeating stories” (Benjamin “Task” 1992: 90)

Intentions of the adaption:

– critique, call into question the “source” text (questioning the latter's aesthetic or political values)

– show respect, pay tribute to to the “source” work

– erase the memory of the adapted text (H 7)

Types of adaptations

Sanders (Adaptations and Appropriation):

Adaptation and appropriation

APPROPRIATE (Merriam-Webster Dict.)

1. to take exclusive possession of | "No one should appropriate a common benefit."

2. to set apart for or assign to a particular purpose or use | "appropriate money for a research program"

3. to take or make use of without authority or right | "natural habitats that have been appropriated for human use

adaptations show a clear relationship between the hypotext (i.e. the source text) and the hypertext (i.e. the reworking of that source text), =/= in appropriations this is not always as clearly stated, "the appropriated text or texts are not always as cleary signalled or acknowledged as in the adaptive process" (Sanders 2006: 26)

“appropriation frequently affects a more decisive journey away from the informing source into a wholly new cultural product and domain” (Sanders, 2006, p. 26)

"appropriation carries out the same sustained engagement as adaptation but frequently adopts a posture of critique, even assault" (Sanders 2006; p. 4), implies a "hostile takeover", and can be "oppositional, even subversive" (p. 9).

"wholesale rethinking" (Sanders 2006; 28, with reference to West Side Story)

“taking possession of another’s story, and filtering it, in a sense, through one’s own sensibility, interests, and talents” (Hutcheon and O’Flynn, 2013, p. 18).

Sanders's two broad categories of appropriations (when the relationship to the source text is not clearly signalled)

1) embedded texts (Sanders 2006: 27-32):

musical West Side Story (Romeo and Juliet) , it would not exist without Romeo and Juliet (27) but i "can and does stand alone as a musical in its own right, without need of the Romeo and Juliet connection, although I would still maintain that ... an intertextual awareness deepens and enriches the range of possible responses" (28)

Kiss me Kate (The Taming of the Shrew)

2) sustained appropriation (Sanders 2006: 32-):

Graham Swift's novel Last Orders (1996), accused of plagiarism of William Faulkner's 1930 As I Lay Dying ; also connections with The Canterbury Tales

With reference to “source” text:

Santoyo's typology:

- adaptación () “naturalizar teatro en una nueva cultura meta para lograr el 'efecto equivalente' de que habla Newmark; acomodar, adecuar y ajustar particulares a las espectativas de un colectivo distinto, separado del primero por un amplio gap socio-cultural de tiempo o espacio" (Santoyo "Traducciones" 104)

- readaptación : to a new medium

- reescritura, adaptación libre , “remake”

Santoyo uses Lefevere's “refraction” (in Zuber Page 191-2)

- recreación (Wilde's Salomé “en verisón de Terenci Moix” in 1985; Hamlet en versión libre de Ignacio García May in 1988)

- plagiarism

- recomposición : multiple plagiarism

- transposición or transfer of the text onto the stage

Hutcheon (Theory of Adaptation)

Transposition across different

1– media

2– genres

3– modes of engagement

1-Media

“the medium affects the artist's focus” (H 19) : Gombrich's observation: if a painter has a pencil, he will look for those aspects which can be rendered in lines”, if a paintbrush, "the artists vision of the landscape will be in terms of masses, not lines” (Gombrich 1961: 65, in H 19)

3- Modes of engagement:

telling

showing

interacting, participatory (“experiencing a story directly and kinesthetically” H 12)

…

Media: verbal, aural (radio), audiovisual (theatre, cinema, TV, opera, ballet, videogame), physical (theme park), kinesthetically (virtual reality)

Narrative to narrative  (telling to telling):

The Odyssey, Joyce's Ulysses (and then into film )

Daniel Defoe's Robinson Crusoe 1719, J. M. Coetzee's Foe

Narrative to theatre (telling to showing):

Othello

From the source: Cinthio’s story is just a tale of a brutal crime. Alfiero (Iago) lusts for Disdemona, his motives are conventional and clear (Iago’s are unconventional and ambiguous). Elevation of the character of Othello (invented name, like Iago’s), he is no barbarian,

Othello , Verdi's opera 1888, Zeffirelli's 1986 “opera film” or “screen opera, DVD

Romeo and Juliet: source: Masucio Salernitano's story published in Il novelino (1474), Luigi da Porto's Istoria novellamente ritrovata di due nobili amanti (1535) first uses the names of Romeo and Giuletta and the Verona setting ; adapted by Mateo Bandello (1560), and Bandello's novella was translated into English in William Painter's Palace of Pleasure (1566-7) and was the source of a French version published in Belleforest's Histoires tragiques (1559-82); which was the basis of Sh's principal source, Arthur Brook's poem Romeus nad Juliet (1562) (its preface refers to a now lost play on the same subject)

Narrative to radio play:

The War of the Worlds Orson Welles' 1938 adaptation of Wells'

Animal Farm by G. Orwell (1944), radio

BBC adaptation of Tolkien's Lord of the Rings in 1981

Lindsay Bell's 2001 adaption of Woolf's To the Lighthouse for Canadia Broadcasting Adaptation

Narrative to film:

The Quiet American by GrahamGreene (1955), into film by Joseph Manckiewiz (1958)

Raging Bull by boxer (World middleweight champion) Jake La Motta, with Joseph Carter and Peter Savage, into film by Martin Scorsese (1980) based on book Raging Bull

Dr Jekyll and Mr Hyde, 1920 film dir. By John Robertson, 1971 film dir. by Roy Baker's film

Joyce's short story "The Dead", turned into film by John Huston, dir.  The Dead ()

Ondjatee's The English Patient , A. Minghella film, screenplay printed

Theatre to theatre (showing to showing):

Print to performance:

“In a very real sense, every live staging of a printed play could theoretically be considered an adaptation in its performance” (Hutcheon, Theory 39)

[Hamlet, Prince of Denmark: A Tragedy 1772, in] The plays of David Garrick: A complete collection of the social satires, French adaptations, pantomimes, Christmas and musical plays, preludes, interludes, and burlesques, to which are added the Alterations and Adaptations of the Plays of Shakespeare and Other Dramatists from the Sixteenth to the Eighteenth Centuries: Volume 4: Garrick's Adaptations of Shakespeare, 1759-1773: Edited with commentary and notes by Harry William Pedicord and Frederick Louis Bergmann

 Canadian Adaptations of Shakespeare Project 

Don Juan: Tirso El burlador de Sevilla, Molière Dom Juan, Mozart's Don Giovanni, Joseph Losey's opera film in 1979, DVD

Byron's poem, José Zorrilla's Don Juan Tenorio, Pushkin, Hoffman, Shaw, Camus

Brecht's adaptations of Shakespeare plays: Macbeth, Coriolanus, Richard III as The Resistible Ascent of Arturo Ui

John Gay The Beggar's Opera, Bertolt Brecht Dreigroschenoper, Wole Soyinka Opera Wonyosi

New title given in order to indicate it is an adaptation: e.g. Ibsen's A Doll House renamed as Doll-House in production directed by Lee Breuer 2003

Theatre to narrative (showing to telling)

Charles and Mary Lamb's

The Hogarth Shakespeare (launched in October 2015)

Stage play to film (showing to showing):

adapting to realist conventions inherent to cinema (naturalistic rules of probability)

Shakespeare in film

(see Russell Jackson’s Cambridge Companion)

Jack Jorgens categorizes film adaptations of Shakespeare as theatrical, realist, and filmic. Maurice Hindle adds a fouth category: periodising mode. (More below)

Hamlet on film (see Kliman’s 1988 book available at Hamlet Works / Texts / Criticism )

musical West Side Story

An example of an “embedded text”, one of Sanders's two broad categories of appropriations (when the relationship to the source text is not clearly signalled)

West Side Story would not exist without Romeo and Juliet (27) but it "can and does stand alone as a musical in its own right, without need of the Romeo and Juliet connection, although I would still maintain that ... an intertextual awareness deepens and enriches the range of possible responses" (28)

Kiss me Kate (The Taming of the Shrew)

Theatre to graphic novel

Manga Shakespeare
Anthony Del Col and Conor McCreery, Kill Shakespeare (2010-) [Canadian writers ]  See Gerzic and Balfour's article
Nicki Greenberg's Hamlet (2010) [Australian writer] 

Screen to novel  (showing to telling):

Star Wars, The X-Files,
Once upon a Time in Hollywood (both film and novel by Q. Tarantino)

Graphic novel to film

V for Vendetta

Sin City

Graphic novel to film to novel:

The League of Extraordinary Gentlemen

To videogames:

“videogames cannot easily adapt what novels portray so well: the space of the mind (H 14)

Novel to film to film to videogame to prequel novel:

Scareface , best known for Brian de Palma's 1983 film, -> videogame , -> prequel novel 2006, <- 1932 film dir. Howard Hawks (<- first ganster movie Underworld) <- Scareface novel by Armitage Trail in 1929 <- the rise and fall of Al Capone

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Analysis

First, a profile of the adaptation (hypertext) in its own terms: theme, genre, style, intention/purpose, tone and attitude, ideologies

Secondly, a comparative analysis: Identification and explanation of adaptation shifts. Use of "comparative narratology" (Jost 2004, Stam 2005 "Introduction") and Bakhtinian, dialogic and ideological criticism.

Adaptation shifts: mechanisms or operation by which adaptations (hypertexts) transform their hypotexts or source-texts

Four Aristotelian categories applied to events, characters and linguistic text: what, how, and why.

— omission, “cutting”

simplification, selection,

condensation, contraction, compression ( from long novels to plays or films)

omission of important words, phrases (thematic words, adjective and adverbs that express attitude), passages

— addition, amplification

expansion (from short story to film)

addition of sensitive words and phrases (thematic words, adjectives and adverbs that express attitude), of passages

E.g. García Suelto, translator-adaptor of Ducis’s version of Macbeth [and of Romeo and Juliet], adds the term “regicida” in his Macbé o los remordimientos (published in 1818 during Ferdinand VII’s restoration of absolutism), a term that in France alluded to the those who ordered the execution of Luis XVI in 1793 and that Ducis did not use: -> García Suelto was a classicist and supporter of the Ancient Régime (Pujante and Gregor 201, p. 29; Pujante 2019, p. 169).

— substitution

alteration of events, of characters, Relocation of story in different time and geography, different culture

alteration of words and phrases (thematic words, adjective and adverbs that express attitude)

— transposition

changes in the structure

Narratological analysis of time (Genette, Rimmon-Kennan): order (anale`ses or flashbacks, prolepses), duration (pace, ellipsis, descriptive pause, scene, summary), frequency

"What is the drift of these changes? What principles orient the choices?" Do they push the adaptation "to the 'right', by naturalizing and justifying social hierarchies based on class, race, sexuality, gender, region, and national belonging, or to the ¡left¡ by interrogating or leveling hierarchies in an egalitarian manner" (Stam 2005 "Introduction" p. 34, 42)

Contextual (historical) analysis:

Time difference between production of hypertext (source) and adaptation (hypotext) (Stam "Introduction")

Censorship

Ideological shifts

Aesthetic mainstreaming

Specifics of the analysis of adaptation from the narrative (telling) to the audiovisual (showing):

Narrator: "The film as a 'narrator' [is] the abstract instance or superordinate agency that regulates the spectator's knowledge" (Stam "Introduction" p. 35)

From verbal narrator to non-narration (showing) in theatre

Dramatization: David Lodge “Adapting Nice Work for television”

From verbal narrator to mediator-narrator in film

…

Results of these textual operations:

Ideas are made “actual”, “concrete”, “natural” to a target audience; or “changed”

“Indiginization” (= “domestication” in translation)

Ambiguities may be clarified, spelled out, or added

Ideology (“worldview”) underlying the “source” text may be altered

Thackeray's Vanity Fair : satire of social pretense > American TV and film versions : the triumph of the individual (H 30)

Point of view (immediacy of internal narrator (so-called "1^st-person" narrator)

interior monologue

Tone: irony

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Film adaptation of literary texts

Distinguishing the specificity of the media (novel and film)

Two contrasting views:

“Generally film is found to work from perception toward signification, from external facts to interior motivations and consequences , from the givenness of a world to the meaning of a story cut out of that world. Literary fiction works oppositely. It begins with signs (graphemes and words) building to propositions which attempt to develop perception. As a product of human language it naturally treats human motivation and values, seeking to throw them out onto the external world, elaborating a world out of a story.” (Andrew 101)

Second misconception: “film makes fewer demands on the imagination than a book does” (in reading we translated words into conceptual images)

“It maybe just as persuasively argued that in coming to serioss terms with a film much more is being required of us” … film requires “that we pay attention to the intricate interaction of

mise-en-scène (what is visibly in the frame at any given moment),

the editing (how one shot of a film is joined-to/separated-from the next)

and sound (diegetic or non-diegetic, musical or otherwise) (McFarlane “Reading film p. 16)

Specificity of film medium

Features of the film medium: cinematic techniques (Bordwell & Thompson)

Shot – editing – sound

Shot : 1) mise-en-scène

2) cinematography : photography

framing

Shot: mise-en-scène

the director's control of what happens in the film frame (B&T 156)

what is filmed

(shot = one uninterrupted run of the camera to expose a series of frames, also called a take B&T 433

Aspects: setting, lighting, costume and make-up, movement and acting (as in theatre)

Shot: cinematography

how it is filmed

cinematography = “writing in movement”, depends on photography “writing in light” B&T 193)

Three factors : 1) photographic aspects of the shot

2) framing of the shot

3) duration of the shot

1. Photography

1.1 Tonalities (choice of film stock, textures

1.2 Speed of motion

1.3 Perspective : focal length (deep focus, racking focus)

2. Framing

2.1 Frame dimensions and shape (aspect ratio)

2.2 Onscreen and offscreen space

2.3 Angle, height, and distance of framing

2.3.1 Angle : straight-on angle, high angle, low angle [slanted] [MediaCollege page]

2.3.2 Level : canted framing

2.3.3 Height : e.g positioning the camera close to the ground

2.3.4 Distance [examples in MediaCollege]: extreme long shot, long shot, medium long shot (knees up), medium shot (waist up), medium close-up (from the chest up), close-up (head, hands), extreme close-up (eyes, lips)

Functions of framing

2.4 Mobile framing (or “camera movement” = the frame moving with respect to the framed material ; in other words, within the image, the framing of the object changes B&T 224)

2.4.1 Types

pan (short for 'panorama'); the camera does not displace itself, the frame scans the space

tilt ; the camera itself does not change position, but the camera's 'head' swivels up or down, impression of unrolling a space from top to bottom or viceversa

tracking shot (dolly or trucking) the camera as a whole changes position

crane shot , the camera moves above ground level, usually descending or rising

hand-held camera

Functions of frame mobility

3. Duration of the image

Long take = usually lengthy shots ; are not the same as 'long shot' (the latter refers to distance between camera and object )

(take = one uninterrupted run of the camera that records a single shot)

“sequence shot” (plan-séquence) = when an entire scene is rendered in only one shot

Editing = the coordination of one shot with the next (B6T 249)

Joins between shots: cut, transition

Transitions from one shot to the next: fade-out [fade from black], fade-in [fade from black], wipe, dissolve [cross fade] [examples in MediaCollege]

Dimensions of film editing:

1. Graphic relations between shot A and shot B

similitudes or differences of the four aspects of mise-en-scène and most cinematographic qualities (photography, framing, camera mobility)

graphic match

2. Rhythmic relations between shot A and shot B

e.g. fast cutting to build up excitement

3. Spatial relations between shot A and shot B

e.g. 'establishing shot' followed by a shot of a part of this space

e.g crosscutting (or parallel editing)

4. Temporal relations between shot A and shot B

order : flashback, flashforward,

duration : ellipsis (elliptical editing), overlapping editing (for temporal expansion)

frequency :

Continuity editing (= “a system of cutting to maitain continuous and clear narrative action”. It relies on “matching screen direction, position and temporal relations from shot to shot” B&T 429)

Techniques : axis of action, crosscutting, cut-in, establishing shot, eyeline match, match on action, reestablishing shot, screen directions, shot/reverse shot

Alternatives to continuity editing

Sound

Fundamentals of film sound:

Perceptual properties: loudness, pitch, timbre

Selection, alteration and combination

Dimension of film sound:

Rhythm : coordination or disparity in sound and image

Fidelity :

Space : diegetic vs nondiegetic sound

resources of diegetic sound: external diegetic sound ; internal diegetic sound ( that which comes from 'inside' the mind of a character

Time : matching sound and image in synchronous sound ; asynchronous (or out-of-synch)

Temporal and spation relations that image and sound can display:

Features and Techniques (film adaptation)–

The story can be the same if the narrative units (characters, events, motivations, consequences, context, viewpoint, imagery, and so on) are produced equally in two works. …. The analysis of adaptation them must point to the achievement of equivalent narrative units in the … different semiotic systems of film and language (Andrew 103)

It's interesting to read “manuals” for screenwriters: McKee, Seger

§ Focalization or point of view:

-> camera angle, focal length, music, mis-en-scène, performance, costume : they all can convey point of view in film (Stam and Raengo 39)

§ Intimacy of narrator-character (homodiegetic narrator, or first-person narrator)

-> voice-over : too obvious; it makes spectators focus on words rather than on the action being shown

Voice-over is successful in creating (Eddie) the moral centre for the whole story in Eastwood's 2004 Million Dollar Baby based on various stories Rope Burns

-> 'subjective shot' (B&T) position of camera on the level of the character, as in Robert Montgomery's 1946 film based on R. Chandler's 1943 Lady in the Lake : film uses mirrors to show the narrator-character [video] : this is unsual, often perceived as clumsy, artificial (H 54)

-> having a character narrate the beginning and end of a story,

-> camera represents point of view of different characters (camera as a moving third-person narrator), e.g. Kurosawa's 1950 period drama Rashomon providing four characters' version of the same incident (H 54)

->

§ Character's inner world: their minds and feelings

[soliloquies in a play: "voice-over", as in "To be, or not to be" in Olivier's 1948 Hamlet

“voice-over” : too obvious; it makes spectators focus on words rather than on the action being shown

stream of consciousness in Joyce's Ulysses

final chapter: Molly Bloom's interior monoogue-> Strick's 1967 film 26-minute episode of actress' voice-over , images sometimes visualize what she's saying, sometimes recap incidents of the action in the novel [1:33:00]

chapter 1 “Ineluctable modality of the visible […] Touch me” (4800 words) -> voice-over in Joseph Strick's 1967 film with montage of various shots [17:25 – 21.38 ], uses screens of total blackness to match Stephen's closing of his eyes

Strick does not use Holywood's conventions to represent subjectivity (shot/reverse shot, eye-line match) (H 57)

-> visual and aural correlatives for interior events

-> “close-up” to explore “the microdrama of human countenance” (Bluestone 1957 , 1971 p. 27), to create psychological intimacy (H 59)

Visconti's Death in Venice : a close-up of protagonist Aschenbach after he's been to the barber's, showing the tension between his anguish and his desire in a “brutally tight close-up” (H 58) [1:48:00, or perhaps 1:53

Ulysses chapter 1 “The aunt thinks you killed your mother”, paragraph with Stephen's thoughts “Stephen, an elbow rested on the jagged granite” … shavingbowl

-> combination of close-up and other techniques = Strick's 1967 Ulysses at 2:10-2:36 flashback sequence of shots showing what Stephen remembers about the death of his mother, followed by close-up of Stephen, then another sequence shows Stephen's overturning of shaving bowl at 4:25 to close the episode

-> music may invoke a “dimension of depth of interiority” (Karmer 1991 p. 156, in H 60)

A Portrait of the Artist as a Young Man -> Strick's 1978 film “uses sequential flashbacks and flashforwards to give a sense of Stephen's fractured subjectivity” (H 57) , “sound and avant-garde film devices can work to signal interiority” (H 58)

Howards End : characters' reaction to Beethoven's Fifth symphony (chapter 5)

the experience unsettles Helen, “panic and emptiness” passage

The narrator sums up the experience: “The music had summed up to her all that had happened or could happen in her career. She read it as a tangible statement, which could never be superseded”

-> James Ivory'2 1992 film : (at 0:11:20 approx.) we can only guess at Helen's thoughts ( H 24-5). The “panic and emptiness” of the goblins is not experienced by her; it is the lecturer who uses this as an image in his explanation of the piece in response to a question. Helen seems more bored than upset by the whole experience (H 25)

§shifts to the past or to the futre : “literature's “meanwhile”, “elsewhere” and “later” find their equivalent in the filmic disolve, as one image fades in as another fades out” (H 63)

-> past can also be represented through décor and costumes, props, music, titles (e.g. London 1712), color (sepia tints), archiac recording devices, and artificially aged or real past footage (Stam and Raengo 21)

§ Ambiguity :

Turn of the Screw by Henry James 1898 : is the governness hallucinating the existence of the deceased former employees or are the children possessed by something supernatural?

-> Jack Clayton 1961 adaptation The Innocents (screenplay by Turman Capote and W. Archibald) : https://www.youtube.com/watch?v=EbrFFLQcEjg

[Beginning:

opening in darkness, voice of little boy singing, music, birds, extreme close-up of hands clasping, slowly revealing face of Mrs Giddens showing inner torture -> "the opening scene creates a sense of intimacy and, perhaps, trust that the governess should be trusted, but the use of darkness surrounding her suggests that it is possible that the story that follows could be nothing more than in her own mind – isolated and creating its own supernatural world" (Frayling, Christopher (2014). The Innocents (Blu-ray) ]

the camera alternate points of view ;

the soundtrack is used to suggest interiority and, with the use of eerie sounds, suggest either supernatural presences or what is going on in the governess's mind

mismatches between what we hear and what we see

[Photos from Wikipedia 20200227:

Miles and Flore caption:

"A key point of dispute between Clayton and screenwriter W. Archiblad was whether the children (pictured) were conduits for malicious spirits, or the phenomena was the invention of the protagonist's mind" [Wikipedia]

Deborah Kerr caption:

"Cinematographer Freddi Francis painted the edges of the lenses for interior night scenes to allow for a more closed-in, claustrophobic sensibility"

The Innocents Cross-dissolve

"Editor Jim Clark manually crafted elaborate cross dissolves in post-production, merging as many as four images in a single frame"

14. Clark, Jim; Francis, Freddie; Mann, Pamela (2014). Between Horror, Fear, and Beauty (Blu-ray documentary).

]

But in the end James' narrative ambiguity is refused on the naturalistic medium of film (H 69)

§ Metaphors, symbols

-> spoken by a character

-> physically materialized in iconic form

-> translated into equivalents

-> editing may suggest metaphoric comparison by linking disparate images together (H 71)

§ Verbal irony

Barry Lyndon by W. Thackeray (1844 the Luck of Barry Lyndon), first-person narrator, parody of contemporary fashion for criminal-hero (Bloomsbury Guide)

-> Stanley Kubrick's 1975 Barry Lindon uses ironic voice-over narrator between scenes ; Barry Lyndon is much more sympathetic that that of Thackeray's (H 71)

§ Associative language in Mrs Dalloway -> Marleen Gross's 1998 film uses “associative visual imagery” (H )

§ Absences or silences:

Melville's Billy Budd :

Context : sailor Billy kills malicious captain at arms John Claggart; the killing could have been seen as an accident, but the only witness, Captain Vere, chooses not to save Billy but rather “to give into his professional fears that this act could be seen as the first step to a possible mutiny” (H 72)

Absent event = Captain Vere informs sailor Billy of the court's decision to have him hanged: The omniscient narrator says “Beyond the communication of the sentence what took place at this interview was never known”. The narrator essays “some conjectures”

-> Ustinov's film dramatizes the scene with melodramatic music as Vere asks Billy to hate him as a way of conquering his fear, and Billy replies that he is not afraid: “I was only doing my duty. You are doing yours” (quoted in H 74)

§ absence of description for a character: as the lawyer Mr Jaggers in Dickens' Great Expectations : in a film the character must be described (shown) “to visualize the character … destroys the very subtlety with which the novel creates this particular character (Giddings, Selby and Wensely p. 81)

Film adaptation in context

Intentions of the adaption:

– critique, call into question the “source” text (questioning the latter's aesthetic or political values)

– show respect, pay tribute to to the “source” work

– erase the memory of the adapted text (H 7)

Adaptations [like translations ] may reveal about the context of production and reception

Dr Jekyll and Mr Hyde, novella by Robert Louis Stevenson

1920 film dir. By John Robertson (prohibition era, sexual fall through alcohol),

1971 film Dr Jekyl and Sister Hyde , dir. by Roy Baker's film : Britain's confused responses to feminism after the 1960s (H 26)

Ideology and film adaptation

The Quite American , novel by Graham Greene (1955), film by Joseph Mankiewicz (1958)

"Graham Greene, for example, disowned the 1958 adapatation of his Vietnam-set novel The Quiet American, describing it as a "propaganda film for America". In the title role, Audie Murphy played not Greene's dangerously ambiguous figure - whose belief in the justice of American foreign policy allows him to ignore the appalling consequences of his actions - but a simple hero. The cynical British journalist, played by Michael Redgrave, is instead the man whose moral compass has gone awry." (Malford and Graham, The Guardian 2008)

Animal Farm novel by George Orwell (1945), cartoon or animated film (1954) funded by the CIA.

Altered ending: "Orwell would not have liked this one change, with its substitution of commonplace propaganda for his own reticent, melancholy satire" The Manchester Guardian, 1955

the message should be that "Stalin's regime is not only as bad as Jones's, but worse and more cynical," and Napoleon "not only as bad as JONES but vastly worse". And the "investors" were greatly concerned that Snowball (the Trotsky figure) was presented too sympathetically (Wikipedia, quoting Leab, Daniel, Orwell Subverted: The CIA and the Filming of 'Animal Farm' (review of book by Paul Thomas in Film Quarterly ) Vol. 62  No. 1,  Fall 2008, p. 92-93 DOI: 10.1525/fq.2008.62.1.92

From Bordwell and Kristine's Film Art, section “Form, style and ideology” 386-

Raging Bull by Martin Scorsese (1980) based on book Raging Bull by boxer (World middleweight champion) Jake La Motta, with Joseph Carter and Peter Savage, script by Paul Schrader and Mardik Martin, dist. United Artist

a more ambivalent attitude toward ideological issues

Scorsese makes violence the film's central theme, uses “conventions of cinematic realism to make violence visceral and disturbing”, scenes that are hard to bear in boxing matches and in quarrels in everyday life (392)

film criticizes that violence is widespread in American society (does not idealize American society), criticizes “its penchant or unthinking violence” (396), but at the same time shows “fascination with that violence and with its main embodiment, Jake” (396)

film loosely based on actual career

uneasy balance of sympathy and revulsion toward its central character (392)

uses strategies to make Jake a case study in the role of violence in American life (392)

[1] structure :

beginning and ending showing Jake in 1964 rehearsing for a recital

> the story is framed as a flashback -> Scorsese links violence with entertainment

rise-and-fall pattern inside this frame : high point in 1949 when Jake wins championship

[2] conventions of realism (394)

filming of fights : [e.g. 0:04:00- ] with camera on a Steadicam brace > ominous tracking movements or close shots emphasizing grimaces

backlighting highlights droplets of sweat or blood

rapid editing, often with ellipses, and loud striking cracks intensifying the physical force of punches

special make-up creating effects of blood

In contrast to long shots and less vivid sound effects or violent scenes outside the ring

use of superimposed titles , date, locale, etc. > quasidocumentary quality

acting : except for De Niro, the cast chosen from unknown actors or nonactors > no glamorous star associations are brought to the film

real Bronx accents

De Niro gained sixty pounds to play Jake in 1964 (this contrast is emphasized by a straight cut relating older Jake in medium close-up to young Jake im similar framing

Jake's brutality is made disturbingly attractive (394)

story focuses more perpetrators of violence than on victims

deviations from realism

viewers are encouraged to identify with him <- scenes shown from his point of view ,, slow-motion suggests that viewers see how Jake reacts subjectively

when Jake sees Vikiee with other men and becomes jealous

in final fight, also with a combined track forward and zoom out to make the ring seem to stretch far into the distance [ fight 1:33:00]

sound of throbbing when Jake wins suggests viewers are entering Jake's mind

See also Steitmatsky 2004, Kilpatrick 2005, Deer 2005.

Types of film adaptation

Three categories in film adaptation (Wagner 1975: 222-231; Cartmell and Whelehan 1999: 24- )

1- transposition:

2- commentary:

3- analogy / analogue:

1- transposition: ‘a novel is directly given on the screen, with the minimum of apparent interfer- ence’ (Wagner 1975: 222) the 1939 Wuthering Heights

relocation in cultural, geographical and temporal terms

Baz Luhrmann's 1996 film William Shakespeare's Romeo + Juliet (Verona Beach, handguns instead of swords and rapiers) = a "proximation" according to Genette (1997:304)

Michael Almereyda's 2000 film Hamlet (Elsinore is a Manhattan financial corporation, the king its CEO

2- commentary: ‘where an original is taken and ... altered in some respect’ (1975: 223), revealing ‘a different intention on the part of the film-maker, rather than an infidelity or outright violation’ (1975: 224)

more culturally loaded; adaptation that comment on the politics of the source, usually by menas of alteration or addition (Sanders 2006, 21)

Derek Jarman's 1979 film The Tempest (adds teh Algerian withc Sycorax

Patricia Rozema's 2000 film Mansfield Park makes explicit the novel's context in the history of British colonialism and the practice of slavery on Antiguan plantations (Sanders 2006: 22)

The full impact of this kind of adaptation depends upon the audience's awareness of an explicit relationship to a source text (Sanders 2006: 22)

3. analogy: takes ‘a fiction as a point of departure’ (1975: 223) and therefore ‘cannot be indicted as a violation of a literary original since the director has not attempted (or has only minimally attempted) to reproduce the original’ (Wagner 1975: 227).

Wagner seems unable to determine whether Luis Buñuel’s Belle de jour (1967) is a commentary or an analogy (Aragay 16)

analogue : stand-alone works Francis Ford Coppola film Apocalypse Now (1979)

Michel Winterbottom's Hollywood Western The Claim (2001) is a re-vision of Thomas Hardy's The Mayor of Casterbridge

Jerome Robbins's and Robert Wise's musical West Side Story : a reworking of Romeo and Juliet in the context of teh race conflicts New York in 1950s, particularly "resentment of and violence towards the immigrant Puerto Rican community" (Sanders 2006:27)

Musical My Fair Lady : George Bernard Shaw's Pygmalion

Aragay 2005:16 "Wagner is obsessively concerned with ‘defending’ adaptations of any sort from the charge of ‘infidelity’, while his attempts at actually applying his tripartite classification to specific adaptations have the perverse effect of foregrounding the severely limited theoretical and practical validity of any model that relies on the centrality of the literary source or ‘original’.

Andrew (98): Borrowing – Intersection – Fidelity of transformation

Borrowing

The artist employs, more or less extensively, the material, idea, or form of an earlier, generally successful text . E.g medieval miracle plays based on biblical stories. E.g. adaptations of Shakespeare plays

The adaptation hopes to win an audience by the prestige of its borrowed title or subject. But at the same time it seeks to gain a certain respectability

Analyst needs to probe the source of power in the original by examining the use made of it in adaptation. Here the main concern is the generality of the original, its potential for wide and varied appeal.

This is true of adapted material which claims the status of myth e.g. Tristan and Isolde, possibly Midsummer Night’s Dream.

The success of adaptations of this sort rests on the issue of their fertility not their fidelity . (Andrew 99

Intersecting

The uniqueness of the original is left unassimilated in adaptation (Andrew 99

“cinema records its confrontation with an ultimately intransigent text”

E.g. Robert Bresson Country Priest based on Bernanos’ novel. A. Bazin calls this “a refraction of the original”

E. G. Passolini’s Gospel, Medea, Canterbury Tales, Decameron (Andrew 100)

the analyst attends to the specificity of the original in the specificity of the cinema. An original is allowed its life, its own life, in the cinema” (Andrew 100)

Fidelity of adaptation

it is assumed that the task of the adaptation is the reproduction of something essential about an original (Andrew 100)

fidelity in relation to the “letter” and to the “spirit”

“letter” = aspects of fiction generally elaborated in any film script:

- characters and their inter-relation

- geographical, sociological, cultural context

- point of view of the narrator (tense, degree of participation and knowledge of the storyteller)

The skeleton of the original can become the skeleton of a film

“spirit” = tone, values, imagery, rhythm

Kamilla Elliot. (Rethinking the Novel/Film Debate, Cambridge UP, 2003)

six categories

- psychic

- international

-ventriloquist

-decomposing

-genetic

- trumping

Jorgens categorizes film adaptations of Shakespeare as theatrical, realist, and filmic (1977: 7- 16)

§ theatrical : the medium of film is transparent, "it has the look and feel of a performance worked out for a static theatrical space and a live audience" (7)

Examples: the "Elizabethan" parts in Laurence Olivier's 1944 Henry V (e.g. 2:38 to 29:40 in video); Stuart Burge's 1965 Othello (video), based on a stage production directed by John Dexter in 1964 at the National Theatre of Great Britain; Tony Richardson's 1969 Hamlet.

the camera is used as a "device to record a theatre-like performance", without exploiting its potentialities "to refashion the visual representation of a Shakespeare play using the more elaborate pictorial techniques of other modes" ; the film frame is taken as if it were a theatrical proscenium arch ; predominance of medium and long shots "in lengthy takes that stress the durational quality of time" (Hindle Studying, 69).

Example of filmed stage performance (before a real theatre audience): Edwin Sherin's 1974 King Lear (video) : shot with four cameras "in a lively range of one, two, three and wide shots, with ... shot/reverse shot sequences catching some of the best dramatic exchanges", close shots for James Earl Jones's Lear allow screen spectators to perceive aspects that a theatre audience watching at some distance would not notice (Hindle Studying, 70)

§ realistic : takes advantage of the camera's unique ability to show things (landscapes, and also intimate indoor spaces (8) "the most popular kind of Shakespeare film ... at bottom Shakespeare is a realist" (Jorgens 8)

Examples: Peter Brook's Lear ("documentary style") [but Hindles argues that it has more filmic qualities as it has realistic elements, p. 75] ; Franco Zeffirelli's Taming of the Shrew, Romeo and Juliet ("decorative, spectacular"), [ and Hamlet] ; a "mixed style" (realist and non-realist techniques) in Akira Kurosawa's Throne of Blood, Roman Polanski's Macbeth, and Orson Welles's Chimes at Midnight ; [Hindle adds Kenneth Branagh's Henry V, Much Ado About Nothing, and Hamlet, p. 75; Max Reinhardt's 1935 Midsummer Night's Dream, ineffective because expensive and extravagant sets, props and costumes are distracting ; and Peter Hall's 1968 Midsummer Night's Dream, even though one "does not expect a non-realist play like Dream to be conveyed as a realistic drama", p. 76]

"film has the capacity to show an inmense variety of images which may complement and enhance key elements of the text", realist mode provides "some version of verisimilitude to the realistic elements implied" by the play-text (Hindle Studying, p. 76)

§ filmic : "the mode of the film poet" using nontheatrical techniques and emphasizing "the artifice of film, --- the expressive possibilities of distorting the surfaces of reality" (10)

Examples: Grigori Kozintsev's Hamlet and Lear ; Olivier's Henry V, Hall's Dream; [Hindle adds Julie Taymor (p. 78), Orson Welles's Othello (p. 79)]

"The problem is not one of finding means to speak the verse in front of the camera, in realistic circumstances ranging from long-shot to close-up. The aural has to be made visual. The poetic texture has itself to be transformed into a visual poetry, into the dynamic organisation of film imagery" (Kozintsev's essay "Hamlet and King Lear: Stage and Film", 1972, p. 191)

avoidance of the literal image visualization what the character speaks: a film showing a cherub riding a horse because Macbeth uses the metaphor of "pity, like a new-bon babe / Striding the blast, or heaven's cherubin, horsed / Upon the sightless couriers of the air" (1.7.21-23),

translation of "the essential meanings and moods of the text ... into a text of cinema" (Hindle Studying, p. 78). This is difficult because film has culturally acquired associations with realism and naturalism ("for understandable commercial reasons", as Hindle remarks)

to "make visible" the poetic atmosphere of the play "investing what is photographed with metaphoric, rather than realistic value, this multiplying meanings and effects" (Hindle Studying, p. 79).

Non- or anti-realist film techniques:

In Welles's Othello, "skewed camera angles, deep focus, dissolves, powerfully graphic compositions, long tracking shots, surrealistic reflections – all serve to pictorialise the unstable and claustrophobic world of destructive emotions and behaviours set in motion by devilish Iago" (Hindle Studying, 79)

Opening scene: Compare first scene in play-text with first 4 minutes video ; Bumdog Torres' composition analysis in video. Hindle: shot of Iago trapped in a cage initiates "an image system of iron bars or barred verticals that, together with repeated images of stony vaults or high walls, conveys with emphatic visual power the forces of entrapment that relentessly develop in the play text" (p.79)

§ periodising mode: transporting the story and characters "wholesale into the cultural trappings and social dynamic of distinctly recongisable historical period" (Hindle Studying, p. 82-87)

Examples: Christine Edzard's 1992 As You Like It ; Richard Loncraine's 1994 Richard III ; Baz Luhrmann's 1996 Romeo + Juliet.

The beginning of Pride and Prejudice in screen adaptations

Robert Z. Leonard's 1940 film for Metro Goldwyn Meyer : screenplay by Aldous Huxley and Jane Murfin, based on dramatization by Helen Jerome :

a jolly film, with stars (Laurence Olivier)

“It happened in Old England” in the titles induces viewers to a charming, idealized past, Merrie England

exterior shots heavily decorated with paper flowers “romantic impression of Britain as a garden perpetually in bloom” (Belton 182)

costumes set in 1830s more like pre-Civil War (Gone with the Wind 1939) “ a long way from the European decadence that scanty Regency garb might evoke” “evoke solid morals and a strong character” (Troost 86)

In line with Hollywood adaptations of 19^th-century novels, script deviates a great deal from novel

additions: May Day party at Netherfield > “idealizes British common people “(Belton 182)

Class problem is difused (Troost 77): Elizabeth is middle class [not landed gentry] (like a typical American), and Darcy's upper-class Pemberley house is not shown

Lady Catherine is “reshaped into a romantic representative of egalitarian democracy” (Troost 77)

In the historical context of early WWII, the joint venture of British novelist Huxley and American playwright Murfin 'strengthen the Britsih and American alliance at a fragile moment.

C. Coke's 1980 miniseries Pride and Prejudice for BBC : narrator's sentences given to dialogue, indoor spaces predominate, exteriors on real locations (Derbyshire, Linclonshire)

BBC's heritage style, historical authenticity and fidelity to plot, in early adaptations conservative filming techniques are used (shooting on sets, fixed cameras, little use of long shots, tracking shots, background music, slow pacing “ they lack sparkle because of this fidelity” (Troost 79)

series, unlike film, accommodates more “original” information, more fidelity

In comparison to previous BBC adaptations, Coke include more filming techniques > “greater visual sophistication” (Troost 80)

Darcy is clearly aristocratic

In historical context: criticism of giving “a skewed view of English life, privileging upper-class, showing a monocultural society, indulging in nostalgia for an England that never existed, and espousing conservative Thatcherite values (Troost 80)

Film as a space for display of heritage properties

S. Langton's 1995 miniseries Pride and Prejudice for BBC , screenplay by Andrew Davies:

first three minutes : shows quick cuts, fourteen different scenes , lavish use of locations, → contributes to serial's appeal (Troost 84-6)

Success based on its infidelity to novel and departure from traditional adaptation (; a book reconceived as a highly visual film (Troost 84)

costumes enhance protagonist's sexuality,

fast pace dialogue, largely because adapter does not use much of original dialogue although it sounds like Austen's

Joe Wright's 2005 film for StudioCanal and Working Title Films, distributed by Focus Features (USA) Universal Pictures (international) :

earlier time, 1797, in part to distinguish it from 1995 BBC series

camera angles and use of zoom lenses to give a sense of movement and avoide the feeling of a painting, of the “picturesque” (director notes, in Troost 86)

period dresses and location shots, but the look of the film is contemporary : modern hair, untiy, contemporary gestures (Troost 86)

for a very young audience, teenagers, (with Judi Dench and Donald Sutherland for older viewers), not a produce of 'high-culture', just for 'fun'

Austen's verbal satire vanishes to be replaced by jokey and naughty one-liners from comic or minor characters (Troost 87)

“designed to showcase a very young, photogenic star” (Troost 87)

Shakespeare's Henry V in film

1. The play

Henry V: a history play (or chronicle play) by William Shakespeare, probably written in 1599, and first performed by the theatre company Lord Chamberlain's Men, presumably at the Curtain playhouse" and perhaps later at the Globe" (Wiggins vol. 4: 98, 104)

The play dramatizes historical events of Henry V's military campaign in France between 1415-20, with the victorious siege to Harfleur and battle of Agincourt, and the peace negotiations, which include Henry's wooing of the French princess Catherine whom he will marry. Sub-plots deal with Henry's former rascal companions (Pistol, Nim, Bardolph and Falstaff's boy), and with four captains fo Welsh, English, Irish and Scottish nationalities.

It is a continuation of Shakespeare's comical history play The Second Part of Henry IV, probably written in 1597, itself a sequel of The History of Henry IV, probably written earlier in the same year (Wiggins vol. 3: 407, 361).

Text: two substantive early textual versions:

F1: the standard version, printed in the 1623 folio collection (usually called First Folio) of Shakespeare's plays, with the title The Life of Henry V, (3213 lines)

Q: an earlier version, printed in quarto in 1600, generally regarded as an abridged version (1601 lines), with the text memorially reconstructed. (Alternatively, R. Dutton proposes that F1 is a revised version)

Sources:

• Edward Hall's The Union of the Two Noble and Illustre Families, Lancaster and York (1542)

• Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1577)

• The anonymous history play The Famous Victories of Henry V, probably written in 1586 (Wiggins vol. 2: 358); performed by the Queen's Men; printed in 1598

• The history play Edward III

Criticism notes:

A study of kingship. E. M. Tillyard sees it as culminating Shakespeare's portrayal of the ideal king, initiated in Richard II and explored in the Henry IV plays

"its depiction of warfare never precisely matches the glamorous and heroic pictures conjured by the Chorus, while its protagonist, aptly parodied by his comic counterpart Pistol, is both more insecure and more Machiavellian than the 'warlike Harry' promised in the Prologue" (Dobson and Wells 198)

It shows the contradictions and moral problems of Henry's military decisions and actions

A display of patriotism.

It implicitly supports the Tudors' colonial policy in Ireland at a time of war between Irish "rebels" and English forces (the Nine Years War 1593-1603)

The scene with the four captains raises questions about national identity ("What ish my nation?" asks the Irish captain MacMorris, 3.3.66)

(Rabkin 1977; Greenblatt 1985 ; Dollimore and Sinfield ; Holderness 1995; Hedrick ; Maus )

In FILM:

film allows for exterior locations and display of battle scenes (in the play, the stage direction "Alarum. Excursions" [a stage skirmish] 4.4.), and at the same time for character introspection

2. Olivier, Laurence, dir. Henry V. 1944.

Olivier, Laurence, dir. Henry V. Dist. Eagle-Lion Distributors Ltd. Prod. comp. Two Cities Films. Perf. Laurence Olivier, Leslie Banks, Robert Newton, Renée Asherson. United Kingdom, 1944. 136 min. Film 35 mm.

"the first [Shakespeare film] to be both an artistic and a popular success" (Jorgens 122)

Innovative filmic adaptation (Hindle 141), effective use of filmic capabilities for transition between theatre and cinema, variety of visual styles

First Technicolor film un UK.

Released during the Allied campaign in Normandy. Dedicated to "the Commandos and Airborne Troops of Great Britain"

It exploit's the play's patriotism. Henry as a hero in wartime.

"entertaining nationalist film uncomplicated by Shakespearean irony ... Nevertheless, ... [Olivier] retained a few of the complicating elements of the play" (Jorgens 126)

"designed as propaganda, or escapist fantasy which glamorises war and boosts morale (Cartmell 2000 Interpreting: 100)

Initial scene at the Globe playhouse:

panoramic view of inside the playhouse - >

"democratic in the sense that commoners, gentlemen, and nobles watch the same play" (Jorgens 123)

Portrayal of Henry V : charismatic, resolute, not troubled by doubts <- omission of contradictions in Shakespeare's character <-- rare use of close-up

In contrast, potrayal of the French : decadent, vain, oversophisticated <-- very little movement , "distorted scale and perspective" (Jorgens 131)

Court scene in 1.2: slapstick humour of the Archbishop and Bishop -> an "ideological fog ...thrown over the issue" of Henry's legitimate act of war against France (García Landa 193)

Omission of

- Henry's threat to rape women in Harfleur

- Henry does not prevent old friend Bardolph to be "executed for robbing a church" (3.6.97)

- Henry's incompassionateness: "we'll cut the throat" of all the prisoners (4.7.62-4)

Portrayal of war : little emphasis on violence, shows of blood, moral and emotional anxieties

Battle of Agincourt [1:32:50]

film realism in vast exterior locations (shot in Ireland), numerous extras, "and at the same time he holds that realism in check by shifting from a theatrical style to Eisenteinian montage as he juxtaposes the rush of charging French horses with the harsh diagonals of English pikes and arrows, involving close-ups with long shots which provide a detached view" (Jorgens 131)

Patriotism:

topical meaning in war time: patriotic film to arouse spirits

England in 1415 anf in 1944 represents justice while the French in 1415 represent the decadence of ? French collaborationist president Pétain

The film does not have a clear equivalent of Hitler -> "Henry embodies to some extent both the aggressive justice of the Allies and the aggressive madness of the Nazis" (García Landa 194)

[ "We happy few" (4.3.60) 1:28.00 YT, 1.32.00 mp4]

Epilogue: omission of lines referring to the loss of France

See also Deats

3. Branagh, Kenneth, dir. Henry V. 1989.

Branagh, Kennetf, dir. Henry V. Dist. Prod. comp. Renaissance Films; BBC; Curzon Film Distributors; Samuel Goldwyn Co. Perf. Kenneth Brannagh, Derek Jacobi, Robert Stephens, Emma Thompson, Ian Holm. United Kingdom, 1989. 137 min. Film 35 mm.

Branagh (actor and director) as the "new" Olivier.

This film initiated a revival of Shakespeare in film in the 1990s (Crowl 2000, 222; Hindle 147)

Branagh's intention: "a deeply questioning, ever-relevant and compassionate survey of people and war" (quoted in Hindle 148)

Potrayal of Henry V:

"more likeable ... and makes the overt, jingoistic dimension of the play more acceptable" (García Landa 190)

Threatens to have his soldiers rape women in Harfleur (0.40.00 mp4)

Weeps when his old friend Bardolph is hanged (announced in Sh, 3.6.98) (1.1.45 -1.3.30 mp4), includes interpolation remembering good times in the tavern and Bardolph asking him not hang thieves (Falstaff's words in from Henry IV Part One 1.2.61)

Soliloquy during the night after discussion with common soliders (4.1) (1:24.30 mp4)

Episode of reporting the number of casualties and Te Deum 4.8.80 (1.50:00 mp4 / 1:55:30 mp4)

Omission of Henry's incompassionateness: "we'll cut the throat" of all the prisoners (4.7.62-4)

"Branagh’s engagement with Henry’s ideology of aggressive self-promotion glorifies aggression tout court as the shortest way to a sense of self." (García Landa 194).

Portrayal of war: realistic, not a glorification of war

Scene 1.2 at the court: is "shot to convey something of the way the play arouses doubts about the legality of the planned war" (Hindle 149) (0.5.43 - 0.13.18): an "ideological fog ...thrown over the issue" of Henry's legitimate act of war against France (García Landa 193)

Battle of Agincourt: [1:31:40 YT / 1.36:00 mp4] - :

French charge on horseback (1.37.30 mp4)

Clash of armies (1.38.10)

"appropriation of Vietnam war movie codes is at the heart of his emotionalising technique, the sequence in which Henry's cousin York dies [1.41.00] being remarkable for its similarity to one in Platoon" (Hindle 150) [York's death is reported by Exeter in 4.67-31]

After the battle: 1:55:30 mp4 tracking shot

Patriotism:

["We few, we happy few" (4.3.19-66) 1:28:48 YT / 1.31.00 - mp4, precisely 1.33.00

Metatheatricality trasnformed into a "metacinematic" trick: the Chorus (Derek Jacobi) speaks from a film-studio (0:2:18)

See also Deats

4. Michôd, David, dir. The King. 2019.

Michôd, David, dir. The King. Dist. Netflix. Prod. comp. Plan B Entertainment; Netflix; Blue-Tongue Films; Prochlight Films. Perf. Timothée Chalamet, Joel Edgerton, Robert Pattinson, Lily-Rose Depp. Australia, United States of America, 2019. 140 min. D-Cinema, Video Ultra (HD)

Comment by historian in H. Samuel's article in The Telegraph 4 Nov. 2019 (echoed in Wikipedia)

Anthology

"Rum and Coca-Cola" | Voltaire's Hamlet |  Pride and Prejudice |   Howards End |

"Rum and Coca-Cola"

Version by Lord Invader (1943)

Version by Andrew Sisters (1944)

And when the Yankees first went to Trinidad, Some of the young girls were more than glad, They said that the Yankees treat them nice, And they give them a better price. They buy rum and Coca-Cola, Went down Point Cumana, Both mother and daughter, Working for the Yankee dollar. Ah, look I had a little chick the other day, But her mother came and took her away, Herself, her mother and her sisters, Went in a cab with some soldiers [...]

If you ever go down Trinidad They make you feel so very glad Calypso sing and make up rhyme Guarantee you one real good fine time Drinkin' rum and Coca-Cola Go down Point Koomahnah Both mother and daughter Workin' for the Yankee dollar. Oh, beat it man, beat it. Since the Yankee come to Trinidad They got the young girls all goin' mad Young girls say they treat 'em nice Make Trinidad like paradise. Drinkin' rum and Coca-Cola Go down Point Koomahnah Both mother and daughter Workin' for the Yankee dollar. Oh, you vex me, you vex me. From Chicachicaree to Mona's Isle Native girls all dance and smile Help soldier celebrate his leave Make every day like New Year's Eve. [...]

Voltaire's Hamlet

FROM  http://chalk.richmond.edu/mlcintertextes/intertexualite/traduction/files/traductions_hamlet.htm

Voltaire, Lettres philosophiques (date). Lettre XVIII. "Sur la tragédie."

J'ai choisi le monologue de la tragédie d'Hamlet, qui est su de tout le monde et qui commence par ce vers :
To be or not to be, that is the question. C'est Hamlet, prince de Danemark, qui parle :

Demeure ; il faut choisir, et passer à l'instant
De la vie à la mort, ou de l'être au néant.
Dieux cruels ! s'il en est, éclairez mon courage.
Faut-il vieillir courbé sous la main qui m'outrage,
Supporter ou finir mon malheur et mon sort ?
Qui suis-je ? qui m'arrête ? et qu'est-que que la mort ?
C'est la fin de nos maux, c'est mon unique asile ;
Après de longs transports, c'est un sommeil tranquille ;
On s'endort, et tout meurt. Mais un affreux réveil
Doit succéder peut-être aux douceurs du sommeil.
On nous menace, on dit que cette courte vie
De tourments éternels est aussitôt suivie.
O mort ! moment fatal ! affreuse éternité !
Tout coeur à ton seul nom se glace, épouvanté.
Eh ! qui pourrait sans toi supporter cette vie,
De nos Prêtres menteurs bénir l'hypocrisie,
D'une indigne maîtresse encenser les erreurs,
Ramper sous un Ministre, adorer ses hauteurs,
Et montrer les langueurs de son âme abattue
À des amis ingrats qui détournent la vue ?
La mort serait trop douce en ces extrémités ;
Mais le scrupule parle, et nous crie : " Arrêtez.
Il défend à nos mains cet heureux homicide,
Et d'un Héros guerrier fait un chrétien timide, etc.


Ne croyez pas que j'aie rendu ici l'anglais mot pour mot ; malheur aux faiseurs de traductions littérales, qui en traduisant chaque parole énervent le sens ! C'est bien là qu'on peut dire que la lettre tue, et que l'esprit vivifie.

Pride and Prejudice by Jane Austen (1813)

[Source: http://www.gutenberg.org/cache/epub/42671/pg42671.txt

CHAPTER I.

It is a truth universally acknowledged, that a single man in possession

of a good fortune, must be in want of a wife.

However little known the feelings or views of such a man may be on his

first entering a neighbourhood, this truth is so well fixed in the minds

of the surrounding families, that he is considered as the rightful

property of some one or other of their daughters.

"My dear Mr. Bennet," said his lady to him one day, "have you heard that

Netherfield Park is let at last?"

Mr. Bennet replied that he had not.

"But it is," returned she; "for Mrs. Long has just been here, and she

told me all about it."

Mr. Bennet made no answer.

"Do not you want to know who has taken it?" cried his wife impatiently.

"_You_ want to tell me, and I have no objection to hearing it."

This was invitation enough.

"Why, my dear, you must know, Mrs. Long says that Netherfield is taken

by a young man of large fortune from the north of England; that he came

down on Monday in a chaise and four to see the place, and was so much

delighted with it that he agreed with Mr. Morris immediately; that he is

to take possession before Michaelmas, and some of his servants are to be

in the house by the end of next week."

"What is his name?"

"Bingley."

"Is he married or single?"

"Oh! single, my dear, to be sure! A single man of large fortune; four

or five thousand a year. What a fine thing for our girls!"

"How so? how can it affect them?"

"My dear Mr. Bennet," replied his wife, "how can you be so tiresome! You

must know that I am thinking of his marrying one of them."

"Is that his design in settling here?"

"Design! nonsense, how can you talk so! But it is very likely that he

_may_ fall in love with one of them, and therefore you must visit him as

soon as he comes."

"I see no occasion for that. You and the girls may go, or you may send

them by themselves, which perhaps will be still better, for as you are

as handsome as any of them, Mr. Bingley might like you the best of the

party."

"My dear, you flatter me. I certainly _have_ had my share of beauty, but

I do not pretend to be any thing extraordinary now. When a woman has

five grown up daughters, she ought to give over thinking of her own

beauty."

"In such cases, a woman has not often much beauty to think of."

"But, my dear, you must indeed go and see Mr. Bingley when he comes into

the neighbourhood."

"It is more than I engage for, I assure you."

"But consider your daughters. Only think what an establishment it would

be for one of them. Sir William and Lady Lucas are determined to go,

merely on that account, for in general you know they visit no new

comers. Indeed you must go, for it will be impossible for _us_ to visit

him, if you do not."

"You are over scrupulous surely. I dare say Mr. Bingley will be very

glad to see you; and I will send a few lines by you to assure him of my

hearty consent to his marrying which ever he chuses of the girls; though

I must throw in a good word for my little Lizzy."

"I desire you will do no such thing. Lizzy is not a bit better than the

others; and I am sure she is not half so handsome as Jane, nor half so

good humoured as Lydia. But you are always giving _her_ the

preference."

"They have none of them much to recommend them," replied he; "they are

all silly and ignorant like other girls; but Lizzy has something more of

quickness than her sisters."

"Mr. Bennet, how can you abuse your own children in such a way? You take

delight in vexing me. You have no compassion on my poor nerves."

"You mistake me, my dear. I have a high respect for your nerves. They

are my old friends. I have heard you mention them with consideration

these twenty years at least."

"Ah! you do not know what I suffer."

"But I hope you will get over it, and live to see many young men of four

thousand a year come into the neighbourhood."

"It will be no use to us, if twenty such should come since you will not

visit them."

"Depend upon it, my dear, that when there are twenty, I will visit them

all."

Mr. Bennet was so odd a mixture of quick parts, sarcastic humour,

reserve, and caprice, that the experience of three and twenty years had

been insufficient to make his wife understand his character. _Her_ mind

was less difficult to develope. She was a woman of mean understanding,

little information, and uncertain temper. When she was discontented she

fancied herself nervous. The business of her life was to get her

daughters married; its solace was visiting and news.

CHAPTER II.

Mr. Bennet was among the earliest of those who waited on Mr. Bingley. He

had always intended to visit him, though to the last always assuring his

wife that he should not go; and till the evening after the visit was

paid, she had no knowledge of it.

Howards End, by E. M. Forster (1910)

``[T]he Andante had begun - very beautiful, but bearing a family likeness to all the other beautiful Andantes that Beethoven has written, and, to Helen's mind, rather disconnecting the heroes and shipwrecks of the first movement from the heroes and goblins of the third. She heard the tune through once, and then her attention wandered [...] and the Andante came to an end... Helen said to her aunt : `Now comes the wonderful movement : first of all the goblins, and then a trio of elephants dancing,' and Tibby implored the company generally to look out for the the transitional passage on the drum...
`No ; look out for the part where you think you have done with the goblins and they come back,' breathed Helen, as the music started with a goblin walking quietly over the universe, from end to end. Others followed him. They were not aggressive creatures ; it was that that made them so terrible to Helen. They merely observed in passing that there was no such thing as splendour or heroism in the world. After the interlude of elephants dancing, they returned and made the observation for the second time. Helen could not contradict them, for, once at all events, she had felt the same, and had seen the reliable walls of youth collapse. Panic and emptiness ! Panic and emptiness ! The goblins were right.
Her brother raised his finger : it was the transitional passage on the drum.
For, as if things were going too far, Beethoven took hold of the goblins and made them do what he wanted. He appeared in person. He gave them a little push, and they began to walk in a major key instead of in a minor, and then he blew with his mouth and they were scattered ! Gusts of splendour, gods and demigods contending with vast swords and fragrance broadcast on the field of battle, magnificent death ! [...] Any fate was titanic ; any contest desirable ; conqueror and conquered would alike be applauded by the angels of the utmost stars.
And the goblins - they had not really been there at all ? They were only the phantoms of cowardice and unbelief ? One healthy human impulse would dispel them. Men like the Wilcoxes, or President Roosevelt, would say yes. Beethoven knew better. The goblins really had been there. They might return - and they did. It was as if the splendour of life might boil over and waste to steam and froth. In its dissolution one heard the terrible, ominous note, and a goblin, with increased malignity, walked quietly over the universe from end to end. Panic and emptiness ! Panic and emptiness ! Even the flaming ramparts of the world might fall.
Beethoven chose to make all right in the end. He built the ramparts up. He blew with his mouth for the second time, and again the goblins were scattered. He brought back the gusts of splendour, the heroism, the youth, the magnificence of life and death, and, amid vast roarings of a superhuman joy, he led his Fifth Symphony to its conclusion. But the goblins were there. They could return. He had said so bravely, and that is why one can trust Beethoven when he says other things.
Helen pushed her way out during the applause... The music had summed up to her all that had happened or could happen in her career. She read it as a tangible statement, which could never be superseded. The notes meant this and that to her, and they could have no other meaning, and life could have no other meaning (chap. V ; 1989 p. 45-47 ).'

References

Journals on adaptation

Literature/Film Quarterly

Adaptation (adaptation.uk.com)

The Journal of Adaptation in Film and Performance

Borrowers and Lenders: The Journal of Shakespeare and Appropriation

Comparative Literature

Comparative Drama

Online resources:

Adaptation Studies

Canadian Adaptations of Shakespeare Project

BBC 60-second Shakespeare

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