Entanglements of adaptation, allegory, and reception: Jaws and An Enemy of the People

IF 0.4 Q3 CULTURAL STUDIES
Ellen Rees, Thor Holt
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引用次数: 0

Abstract

ABSTRACT In this article the authors discuss Steven Spielberg’s Jaws (1975) with Henrik Ibsen’s En Folkefiende (An Enemy of the People; 1882) as a test case for formulating a better theoretical understanding of adaptations that are neither “announced” nor “extended”; the analysis thus explores adaptation as a special form of intertextuality. The authors reference other cinematic engagements with the same play, including Hans Steinhoff’s Ein Volksfeind (1937), Detlef Sierck’s La Habanera (1937), George Schaefer’s An Enemy of the People (1978), Satyajit Ray’s Ganashatru (1989), and Erik Skjoldbjærg’s En folkefiende (2005), as they investigate the importance of polysemic allegorical structures, the inherently “dialectical” nature of the process of adaptation, the role of reception in newer theories of adaptation, and the implications of understanding adaptation as a particular film genre. The authors propose viewing adaptation as a process that necessarily includes the audience’s understanding of hypotext and hypertext in ways that influence meaning production; it invites consideration of the source text in the film’s reception, consequently linking the source text and its author to other cultural and social discourses that, in turn, influence their reception reflexively in light of the adaptation.
改编、寓言和接受的纠缠:《大白鲨与人民的敌人》
摘要在本文中,作者讨论了史蒂文·斯皮尔伯格的《大白鲨》(1975年)和亨里克·易卜生的《人民的敌人》(1882年),作为一个测试案例,以更好地从理论上理解既没有“宣布”也没有“扩展”的改编;因此,本文将顺应作为一种特殊的互文性形式加以探讨。作者引用了同一部剧的其他电影作品,包括汉斯·斯坦霍夫的《人民的敌人》(1937)、德特勒夫·西耶克的《哈瓦那涅拉》(1937,改编过程的内在“辩证”性质,接受在新的改编理论中的作用,以及将改编理解为一种特定电影类型的含义。作者建议将改编视为一个过程,这个过程必然包括观众对形下文本和超文本的理解,从而影响意义的产生;它邀请人们在电影的接受中考虑源文本,从而将源文本及其作者与其他文化和社会话语联系起来,这些话语反过来又反射性地影响了他们在改编中的接受。
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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来源期刊
CiteScore
0.80
自引率
33.30%
发文量
15
审稿时长
14 weeks
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