{"title":"Textural Analysis: Touching Adaptation","authors":"R. Evan","doi":"10.5117/9789463722100_CH03","DOIUrl":"https://doi.org/10.5117/9789463722100_CH03","url":null,"abstract":"While the previous chapters have explored the materiality of adaptation\u0000 and perception, this chapter explicitly examines how screen adaptations\u0000 appeal to the spectator’s tactile sensitivity. This chapter draws on\u0000 film-phenomenological approaches—such as Vivian Sobchack, Laura\u0000 Marks, and Jennifer Barker—that characterize vision as being haptic and\u0000 synaesthetic. Drawing on an analysis of Jane Campion’s film In the Cut\u0000 (2002), I argue that the adaptation translates the novel’s protagonists tactile\u0000 experience of her world and language into a haptic experience, in what I\u0000 term the spectator’s ‘tactile orientation’. In doing so, this chapter further\u0000 explores how not how adaptation should be considered as a textual layering\u0000 of material, but also a textural layering that includes the spectator’s body\u0000 in a moment of entanglement.","PeriodicalId":253689,"journal":{"name":"Film Phenomenology and Adaptation","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116130267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Textures of Imagination","authors":"R. Evan","doi":"10.5117/9789463722100_CH04","DOIUrl":"https://doi.org/10.5117/9789463722100_CH04","url":null,"abstract":"Rejecting any binary thinking that would have reading novels as an act\u0000 of imagination while films are received through perception, this chapter\u0000 examines how adaptations are experienced through the embodied imagination.\u0000 This chapter builds upon approaches to imagination in cognitive\u0000 aesthetics to argue that imagination is grounded in perception. This\u0000 chapter draws on two case studies, Wonder (Stephen Chbosky, 2017) and\u0000 Mood Indigo (Michel Gondry, 2013), both criticized for making tangible\u0000 their literary sources in a manner than nullifies imaginative engagement.\u0000 Rather, I argue that spectators feel their way into the worlds and\u0000 existential feelings of their characters through the embodied imagination.\u0000 This chapter suggests that perception can lead to a greater imaginative\u0000 understanding of a work, the world, and others, and how such an imaginative\u0000 connection might shift our point of view. That is, screen adaptations\u0000 are equipped to enact a leap from sight to insight.","PeriodicalId":253689,"journal":{"name":"Film Phenomenology and Adaptation","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114206054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"(Re-)Mediating Memory’s Materiality","authors":"R. Evan","doi":"10.5117/9789463722100_CH05","DOIUrl":"https://doi.org/10.5117/9789463722100_CH05","url":null,"abstract":"Adaptation criticism may begin as an act of memory, but while adaptation\u0000 is a medium for memory it is also a medium of memory. This chapter\u0000 considers adaptation as a form of memory work, paralleling adaptation’s\u0000 textual layering with memory’s layering of experience. Adaptations can\u0000 offer us experiential knowledge of the past—either fictional texts or a\u0000 historical ‘truth’—or be antagonistic or self-reflexive about its formal\u0000 remembrance. This chapter examines phenomenological approaches to\u0000 the ‘tissue’ of memory and puts them in contact with two adaptations\u0000 (one prestige, one arthouse), both concerned with the experience of\u0000 marginalized bodies. In doing so, this chapter not only asks ‘what texts\u0000 are remembered?’, or ‘who is remembered?’, but also questions ‘how are\u0000 stories, identities, and lives remembered?’. In doing so, this chapter points\u0000 to how an embodied approach to adaptation not only involves aesthetic\u0000 appreciation but also ethical understanding.","PeriodicalId":253689,"journal":{"name":"Film Phenomenology and Adaptation","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121649353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Grave Visions: Visual Experience and Adaptation","authors":"R. Evan","doi":"10.5117/9789463722100_CH01","DOIUrl":"https://doi.org/10.5117/9789463722100_CH01","url":null,"abstract":"Rather than approaching the ‘look’ of adaptation through point of view\u0000 or the ‘vision’ of the adapter, this chapter examines the material, visible\u0000 texture of screen adaptation. Using two adaptations of Bram Stoker’s gothic\u0000 novel Dracula, I analyse how each uses mise en scène, cinematography, and\u0000 editing to thicken and make tangible Stoker’s questioning of the reliability\u0000 of vision in modernity. The first, Nosferatu (F.W Murnau, 1922) employs the\u0000 tricks of early cinema to shock spectators, while the second—Bram Stoker’s\u0000 Dracula (Francis Ford Coppola, 1992)—uses a neo-baroque aesthetic that\u0000 ruptures the screen and engulfs the spectator, much like one of Dracula’s\u0000 victims. This chapter suggests that critical insight into an adaptation\u0000 can be found quite literally in sight, and embraces how the materiality\u0000 of adaptation overlaps with the materiality of vision.","PeriodicalId":253689,"journal":{"name":"Film Phenomenology and Adaptation","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122740734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Resonance and Reverberation: Sounding Out Screen Adaptation","authors":"R. Evan","doi":"10.5117/9789463722100_CH02","DOIUrl":"https://doi.org/10.5117/9789463722100_CH02","url":null,"abstract":"This chapter attends to the phenomenological quality of sound and how it\u0000 contributes to the experience and appreciation of adaptation. Attending\u0000 to an adaptation’s soundscape not only reveals how it faithfully ‘re-sounds’\u0000 its source novel through the use of dialogue, but also how an adaptation\u0000 might use sound to be creatively divergent from its source. This chapter\u0000 therefore not only examines how an adaptation’s non-diegetic score can\u0000 smooth its narrative structure or give emotional and psychological insight\u0000 into its characters. But further, this chapter also examines how the warped\u0000 and uncanny use of the actor’s voice—or an extremely atonal soundscape\u0000 and score—can palpably affect the spectator. In doing so, this chapter\u0000 examines how sound—both ‘faithful’ and ‘unfaithful’ recording of its\u0000 source—intersects with adaptations both ‘faithful’ and wonderfully\u0000 ‘unfaithful’ to its source.","PeriodicalId":253689,"journal":{"name":"Film Phenomenology and Adaptation","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125046072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: A ‘Fleshly Dialogue’","authors":"Richard David Evan","doi":"10.5117/9789463722100_intro","DOIUrl":"https://doi.org/10.5117/9789463722100_intro","url":null,"abstract":"This chapter positions the book in the extant scholarship of adaptation\u0000 and phenomenology. It establishes the book’s argument that in order\u0000 to ‘make sense’ of adaptations as adaptations, we must first attend to\u0000 their sensual presence: their look, their sound, their touch, and how\u0000 they materialize in the embodied imagination. This chapter builds on\u0000 foundational adaptation scholarship by Robert Stam, Linda Hutcheon,\u0000 and Christine Geraghty who advance an intertextual approach to studying\u0000 adaptation. Rather, this chapter employs the existential phenomenology\u0000 of Maurice Merleau-Ponty—and how it has been adapted to film studies\u0000 by Vivian Sobchack—to propose an intersubjective account of adaptation.","PeriodicalId":253689,"journal":{"name":"Film Phenomenology and Adaptation","volume":"36 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116618058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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