Adaptation-The Journal of Literature on Screen Studies最新文献_第6页

Immigration, Passing, and the Racial Other in Neo-Victorian Imperialist Fiction: The Case of Carnival Row (2019–) 新维多利亚帝国主义小说中的移民、通行证和种族他者：狂欢街案例（2019-）

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-10-07 DOI: 10.1093/adaptation/apab018

D. Pedro

{"title":"Immigration, Passing, and the Racial Other in Neo-Victorian Imperialist Fiction: The Case of Carnival Row (2019–)","authors":"D. Pedro","doi":"10.1093/adaptation/apab018","DOIUrl":"https://doi.org/10.1093/adaptation/apab018","url":null,"abstract":"\u0000 In this article, I provide a close reading of Season 1 of the neo-Victorian TV series Carnival Row as both an ambivalent postcolonial and neo-passing narrative. I first draw on previous criticism on postcolonial neo-Victorianism and turn-of-the-century American passing novels in order to analyze Carnival Row’s contradictory revision of imperial London through its re-imagining in a fictional city named The Burgue. I then explore the conflicting ways in which the series tackles (neo-)imperialism and colonialization, as it simultaneously criticizes and reproduces imperial ideologies and stereotypes of the racial Other. Finally, I argue that Carnival Row seems to offer a new take on American passing novels by allowing Philo, the mixed-race male protagonist, to embrace his biracial nature without meeting a tragic fate at the end of Season 1. Nonetheless, by choosing a White actor (Orlando Bloom) to play the role of the passer, the series culturally appropriates a form of Black oppression for the entertainment of a White audience. Thus, despite the series’ well-intentioned attempts to criticize (neo-)imperial, racist, and xenophobic practices, it ultimately perpetuates—rather than subverts—those very same ideologies.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42127364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Adapting Bestsellers: Fantasy, Franchise and the Afterlife of Storyworlds 改编畅销书:幻想、特许经营和故事世界的来世

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-09-21 DOI: 10.1093/adaptation/apab016

Marcus Berian Nicholls

引用次数: 2

The Paradox of Bazinian Adaptation: Translation and Fidelity in Saramago’s The Double and Villeneuve’s Enemy 巴齐尼安改编的悖论:萨拉马戈《替身》和维伦纽夫《敌人》的翻译与忠实

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-09-21 DOI: 10.1093/adaptation/apab017

Micah K. Donohue

{"title":"The Paradox of Bazinian Adaptation: Translation and Fidelity in Saramago’s The Double and Villeneuve’s Enemy","authors":"Micah K. Donohue","doi":"10.1093/adaptation/apab017","DOIUrl":"https://doi.org/10.1093/adaptation/apab017","url":null,"abstract":"\u0000 Discussing Enemy (2013), his adaptation of Portuguese novelist José Saramago’s The Double (2002), French-Canadian filmmaker Denis Villeneuve remarks: ‘the best way to respect an author is to be very honest about the way you adapted [their work] and to totally destroy the original and make it your own’. Villeneuve’s recreative (translational) use of ‘respect’ reverberates intertextually with André Bazin’s description of respect-based fidelity. For Bazin, utterly faithful yet completely original adaptations could be achieved through ‘a ceaselessly creative respect’ in which faithfulness and unfaithfulness paradoxically converge in translational acts of recreation. I term this paradoxical doubling the paradox of adaptation in Bazin. In part 1 of this article, I explore how Bazin illustrates that paradox in his essays about adaptation with examples of translation, and particularly with examples of Baudelaire’s and Mallarmé’s translations of Edgar Allan Poe (an emblem of intertextual rewriting in French literature). Bazin’s references to translation provide an aperture into a wider understanding of adaptation’s intertextual and heteroglossic nature. Bazinian adaptations are faithful reconstructions and unfaithful transformations. As I discus in part 2 of this essay, Villeneuve capitalizes on this paradox in his recreative translation of The Double. The film reflects and ‘destroys’ (as Villeneuve would say) Saramago’s novel in order to recreate it. Through its re-theorization of Bazin’s fidelity as a translational prism of recreation, this essay contributes to the ‘resurgence of (pro)fidelity criticism’ (Hermansson) as well as to ongoing calls (Krebs, Venuti) for greater attention to the hermeneutic synergy between translation and adaptation studies.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48876430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

‘I’ll Get You, Tom and Jerry. And That Little Dog, Too!’: Adaptation, Transmedia, and Franchise Management in the Tom and Jerry and Wizard of Oz Crossovers “我会抓到你们的，汤姆和杰瑞。”还有那只小狗!:《猫和老鼠》和《绿野仙踪》的改编、跨媒体和特许经营管理

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-08-16 DOI: 10.1093/adaptation/apab014

David McGowan

{"title":"‘I’ll Get You, Tom and Jerry. And That Little Dog, Too!’: Adaptation, Transmedia, and Franchise Management in the Tom and Jerry and Wizard of Oz Crossovers","authors":"David McGowan","doi":"10.1093/adaptation/apab014","DOIUrl":"https://doi.org/10.1093/adaptation/apab014","url":null,"abstract":"\u0000 This article will offer a close reading of two Warner Bros. direct-to-video animated features—Tom and Jerry & the Wizard of Oz (2011) and Tom and Jerry: Back to Oz (2016)—as an example of the transmedia tendencies of studios in the conglomerate era. Although The Wizard of Oz (1939) and Tom and Jerry were originally MGM productions, the modern distribution of these works provides an insight into the complicated post-‘Golden Age’ trajectories of studio archives. Ted Turner’s brief takeover of MGM in the mid-1980s stripped the studio of many of its assets, while the merger of Turner’s company with Warner Bros. in 1996 brought these MGM properties under Warner control. The Tom and Jerry/Wizard of Oz crossover films heavily reference the 1939 MGM movie (the songs, the ruby slippers, and so on)—something that other adaptations of Baum’s novels have not been permitted to do. This paper will suggest that these new extensions of old brands subtly rewrite MGM’s industrial history in favour of establishing them as Warner Bros. franchises, while also re-establishing the brand identity of the 1939 film at a time where Oz adaptations are facing greater competition, particularly from the successful stage musical Wicked (2003).","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47893011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Intercultural Screen Adaptation: A Global Conversation 跨文化屏幕改编：全球对话

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-08-05 DOI: 10.1093/adaptation/apaa034

C. McCarthy

引用次数: 1

William Oldroyd’s Lady Macbeth, Shakespeare, and Adaptation Studies 威廉·奥德罗伊德的《麦克白夫人》、莎士比亚与改编研究

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-08-04 DOI: 10.1093/adaptation/apab015

G. Semenza

{"title":"William Oldroyd’s Lady Macbeth, Shakespeare, and Adaptation Studies","authors":"G. Semenza","doi":"10.1093/adaptation/apab015","DOIUrl":"https://doi.org/10.1093/adaptation/apab015","url":null,"abstract":"\u0000 The title of Oldroyd’s taut thriller, Lady Macbeth (2016), invites audiences to approach the film intertextually. For a small number of viewers familiar with Nikolai Leskov’s 1865 novella Lady Macbeth of Mtsensk, from which the film draws its main inspiration, Shakespeare’s more well-known character will recede into a position of secondary importance. For the majority of viewers, however, a more direct relationship with Shakespeare will be assumed: is Oldroyd’s film an adaptation of the 1606 play? Is it an appropriation of the play’s famous character? Although such questions about an artwork’s relationship to previous texts can seem largely academic, in the case of Oldroyd’s film, they might reasonably be said to be inevitable and, therefore, potentially central to the work’s meaning. Adaptation scholars often struggle to classify such cases—since the line between what we call adaptations and what we call appropriations remains somewhat blurry. The essay uses Oldroyd’s Lady Macbeth as a practical tool for working through what is at stake in these ‘academic’ or ‘semantic’ debates about the frustrating varieties of textual adaptation. The larger intertextual history of Lady Macbeth illustrates the manner in which our critical debates about adaptation tend to reflect, and inform, our deepest desires for and anxieties about progress—or perhaps, more accurately, the apparent lack of such progress—from one historical moment to the next. In doing so, such debates almost mimic the trajectory and functions of adaptations themselves, helping us to understand better why definitions of adaptation must remain elastic and manifold.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46212179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Cowboy Hamlets and zombie Romeos: Shakespeare in genre film 牛仔哈姆雷特与僵尸罗密欧：类型电影中的莎士比亚

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-06-25 DOI: 10.1093/adaptation/apab013

Melissa Croteau

引用次数: 0

Adapting Performance Between Stage and Screen 舞台和屏幕之间的表演调整

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-06-05 DOI: 10.1093/ADAPTATION/APAB011

John Wyver

引用次数: 0

Victoria in Two Twenty-First-Century Film Re-visions of Frankenstein 《弗兰肯斯坦》中的维多利亚

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-05-31 DOI: 10.1093/ADAPTATION/APAB012

P. Mitchell

引用次数: 1

Adapting Mizoguchi’s Ugetsu in Kazuo Ishiguro’s The Buried Giant 在石黑一雄的《埋葬的巨人》中改编沟口的《宇盖津》

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2021-05-26 DOI: 10.1093/ADAPTATION/APAB010

Anni Shen

引用次数: 1