The American Filmmaking Manipulation of a Translated Novel: David Fincher’s adaptation of The Girl with the Dragon Tattoo

R. Gresham
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Abstract

Returning to the notion of the ‘cinematic fact’ and the ‘filmic fact’ adopted from the work of Gilbert Cohen-Seat (1946) by Christian Metz (1974), David Fincher’s 2011 film adaptation The Girl with the Dragon Tattoo can be viewed as a manipulation of Stieg Larsson’s source Swedish novel. Metz recommended the ‘cinematic fact’ as the ‘vast phenomena’ that intervenes before and after the film production, distinguishing it from the ‘filmic fact’ that represents the textual content of the film, meaning that aspects of the cinematic object can be excluded from the domain of semiotic analysis. By reviewing behind the scenes footage on the production of The Girl with the Dragon Tattoo (2011), and Fincher’s own director’s commentary as ‘cinematic fact’ it can be said that Fincher’s style within the American filmmaking machine is an interruption on the adaptive process that manufactures the ‘filmic fact.’ This intervening ‘vast phenomena’ includes acquiring a budget and developing a script through to on-set busyness and Fincher’s use of many takes, and then in post-production the continual use of CGI, that leads to a series of possible enhancements or limitations that can be found in the practice of adapting an already translated text into the American studio and distribution system. Fincher’s unique method within the ‘cinematic fact’ is expressed in these extra-textual materials, that will be used in this paper & presentation to authorize filmmaking’s innate ability to construct false realities from pre-existent material that moves beyond the analysis of medial differences in adaptations.
美国电影对翻译小说的操纵:大卫·芬奇改编的《龙纹身的女孩》
回到“电影事实”和“电影事实”的概念,这些概念来自克里斯蒂安·梅茨(1974)吉尔伯特·科恩·西特(1946)的作品,大卫·芬奇(David Fincher) 2011年改编的电影《龙纹身的女孩》可以被视为对斯蒂格·拉尔森(Stieg Larsson)原始瑞典小说的操纵。Metz将“电影事实”定义为介入电影制作前后的“巨大现象”,将其与代表电影文本内容的“电影事实”区分开来,这意味着电影对象的各个方面可以被排除在符号学分析的领域之外。通过回顾《龙纹身的女孩》(2011)的幕后镜头,以及芬奇自己作为“电影事实”的导演评论,可以说,芬奇在美国电影制作机器中的风格是对制造“电影事实”的适应过程的中断。这种中间的“巨大现象”包括获得预算和开发剧本,通过拍摄现场的忙碌和芬奇使用的许多镜头,然后在后期制作中持续使用CGI,这导致了一系列可能的增强或限制,这些都可以在将已经翻译的文本改编到美国工作室和发行系统中找到。芬奇在“电影事实”中的独特方法表达在这些文本外的材料中,这将在本文和演讲中使用,以授权电影制作的先天能力,从先前存在的材料中构建虚假的现实,超越了对改编中媒介差异的分析。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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