DOCSLIB.ORG

Masters Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Masters Thesis Abstract The objective of this master’s thesis is to analyse the variations of Stephen King’s The Mist to uncover a method for evaluating an adaptation based on its reception and applying the conclusions of such an evaluation to reflect on other adaptations’ success. The study met this objective through an analysis of the constitutional changes to the narrative’s storytelling elements in the adaptation process. These changes were in turn compared to the other variations of The Mist to locate the abeyant elements, that affected the reception of the individual works. Consequently, the analysis found that The Mist novella and the film adaptation of The Mist were successful, while the television series was unsuccessful. In attempting to analyse The Mist, it was relevant to draw on adaptation studies. A discourse on fidelity has dominated the field of adaptation studies for a long time, in which the original work is superior to the adaptations. This study attempts to challenge the notion of fidelity, which is an approach that other influential theorists within the field of adaptation studies share. Linda Hutcheon has provided the theoretical framework of the analysis in her striking book, “A Theory of Adaptation”. The analysis found that changes to a narrative’s elements can have an impact on an adaptations’ reception, both in positive and negative ways. Furthermore, these changes were found to be generalisable to other adaptations, to locate which potential changes to storytelling elements have affected the reception of those adaptations. In the discussion, the findings of the analysis were used to discuss the reception of other examples of adaptations based on their inherent changes to the narrative, and how those changes coincided with the changes to the different variations of The Mist. Table of Contents Introduction ....................................................................................................................................................... 1 Problem formulation .......................................................................................................................................... 2 Literature Review .......................................................................................................................................... 2 Theory ............................................................................................................................................................... 6 Introduction to Julie Sanders: Adaptation and Appropriation .......................................................................... 6 Adaptation functions ..................................................................................................................................... 6 Pleasure of engaging with adaptations ......................................................................................................... 8 Appropriation ................................................................................................................................................ 8 Introduction to Linda Hutcheon: A Theory of Adaptation ................................................................................. 9 Forms of adaptation .................................................................................................................................... 10 Adaptations as adaptations ......................................................................................................................... 12 Content and Form........................................................................................................................................ 13 Knowing and Unknowing audiences............................................................................................................ 14 Pleasure of adaptations ............................................................................................................................... 15 Reasons for adapting ................................................................................................................................... 15 Hutcheon’s Approach .................................................................................................................................. 16 The Ten Secrets of Adapting from Deborah Cartmell ..................................................................................... 17 Methodology.................................................................................................................................................... 19 Delimitation ................................................................................................................................................. 20 Analysis ............................................................................................................................................................ 22 The Mist ....................................................................................................................................................... 22 Reception ..................................................................................................................................................... 23 Medium ........................................................................................................................................................... 25 The Question of What.............................................................................................................................. 27 The Question of Who .............................................................................................................................. 30 The Question of Why .............................................................................................................................. 32 The Question of How .............................................................................................................................. 33 The Questions of Where and When ......................................................................................................... 34 Characters .................................................................................................................................................... 36 Point of View ............................................................................................................................................... 38 Themes ........................................................................................................................................................ 39 Story Units ................................................................................................................................................... 42 Closing ......................................................................................................................................................... 43 Events .......................................................................................................................................................... 45 To summarise .............................................................................................................................................. 47 Discussion........................................................................................................................................................ 48 Respect the fundamental idea: Wolverine (2009-2017) and Deadpool (2016-2018) ................................. 48 Convey the idea to embrace multiple audiences: Warcraft: The Beginning (2016) ................................... 50 Focus on the fundamental idea: The Giver (2014) and Ready Player One (2018). ..................................... 53 Value experience over profit: Sonic the Hedgehog (2019) ......................................................................... 55 Conclusion ....................................................................................................................................................... 58 Further Work: .............................................................................................................................................. 63 List of References ............................................................................................................................................ 65 Print ............................................................................................................................................................. 65 Websites ...................................................................................................................................................... 65 Digital media ................................................................................................................................................ 67 Introduction In recent years, audiences of cinema and television have experienced an abundance of brand-new adaptations, based on famous novels written in the 20th century. Stephen King, a notorious horror writer, is just one among the many authors, who have had their unique narratives adapted to other mediums. A considerable number of King’s most renowned novels have been adapted to the film medium, such as The Dark Tower (2017), Stand by Me (1986), Shawshank Redemption (1994), The Green Mile (1999), The Shining (1980), The Mist (2007, 2017) and It (1990, 2017). The list seemingly continues of the favourably received adaptations. Similar examples of adaptations,
Load more

Recommended publications
  • The Art of Adaptation
    Ritgerð til M.A.-prófs Bókmenntir, Menning og Miðlun The Art of Adaptation The move from page to stage/screen, as seen through three films Margrét Ann Thors 301287-3139 Leiðbeinandi: Guðrún Björk Guðsteinsdóttir Janúar 2020 2 Big TAKK to ÓBS, “Óskar Helps,” for being IMDB and the (very) best 3 Abstract This paper looks at the art of adaptation, specifically the move from page to screen/stage, through the lens of three films from the early aughts: Spike Jonze’s Adaptation, Alejandro González Iñárritu’s Birdman, or The Unexpected Virtue of Ignorance, and Joel and Ethan Coen’s O Brother, Where Art Thou? The analysis identifies three main adaptation-related themes woven throughout each of these films, namely, duality/the double, artistic madness/genius, and meta- commentary on the art of adaptation. Ultimately, the paper seeks to argue that contrary to common opinion, adaptations need not be viewed as derivatives of or secondary to their source text; rather, just as in nature species shift, change, and evolve over time to better suit their environment, so too do (and should) narratives change to suit new media, cultural mores, and modes of storytelling. The analysis begins with a theoretical framing that draws on T.S. Eliot’s, Linda Hutcheon’s, Kamilla Elliott’s, and Julie Sanders’s thoughts about the art of adaptation. The framing then extends to notions of duality/the double and artistic madness/genius, both of which feature prominently in the films discussed herein. Finally, the framing concludes with a discussion of postmodernism, and the basis on which these films can be situated within the postmodern artistic landscape.
    [Show full text]
  • Film Adaptation As an Act of Communication: Adopting a Translation-Oriented Approach to the Analysis of Adaptation Shifts Katerina Perdikaki
    Document generated on 09/30/2021 1:10 p.m. Meta Journal des traducteurs Translators’ Journal Film Adaptation as an Act of Communication: Adopting a Translation-oriented Approach to the Analysis of Adaptation Shifts Katerina Perdikaki Volume 62, Number 1, April 2017 Article abstract Contemporary theoretical trends in Adaptation Studies and Translation Studies URI: https://id.erudit.org/iderudit/1040464ar (Aragay 2005; Catrysse 2014; Milton 2009; Venuti 2007) envisage synergies DOI: https://doi.org/10.7202/1040464ar between the two areas that can contribute to the sociocultural and artistic value of adaptations. This suggests the application of theoretical insights See table of contents derived from Translation Studies to the adaptation of novels for the screen (i.e., film adaptations). It is argued that the process of transposing a novel into a filmic product entails an act of bidirectional communication between the book, Publisher(s) the novel and the involved contexts of production and reception. Particular emphasis is placed on the role that context plays in this communication. Les Presses de l’Université de Montréal Context here is taken to include paratextual material pertinent to the adapted text and to the film. Such paratext may lead to fruitful analyses of adaptations ISSN and, thus, surpass the myopic criterion of fidelity which has traditionally dominated Adaptation Studies. The analysis uses examples of adaptation shifts 0026-0452 (print) (i.e., changes between the source novel and the film adaptation) from the film 1492-1421 (digital) P.S. I Love You (LaGravenese 2007), which are examined against interviews of the author, the director and the cast, the film trailer and one film review.
    [Show full text]
  • Literature on Screen, a History: in the Gap Timothy Corrigan University of Pennsylvania, [email protected]
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarlyCommons@Penn University of Pennsylvania ScholarlyCommons Departmental Papers (CIMS) Cinema and Media Studies Program 9-2007 Literature on Screen, A History: In the Gap Timothy Corrigan University of Pennsylvania, [email protected] Follow this and additional works at: http://repository.upenn.edu/cims_papers Part of the English Language and Literature Commons, Film Production Commons, and the Mass Communication Commons Recommended Citation (OVERRIDE) Corrigan, T. (2007). Literature on Screen, A History: In the Gap. In D. Cartmell & I. Whelehan (Eds.), The aC mbridge Companion to Literature on Screen (pp. 29-44). New York: Cambridge University Press. [10.1017/CCOL0521849624.003] This paper is posted at ScholarlyCommons. http://repository.upenn.edu/cims_papers/8 For more information, please contact [email protected]. Literature on Screen, A History: In the Gap Abstract Perhaps more than any other film practices, cinematic adaptations have drawn the attention, scorn, and admiration of movie viewers, historians, and scholars since 1895. Indeed, even before this origin of the movies - with the first public projections of films by Auguste and Louis Lumière in France and Max and Emil Skladanowsky in Germany - critical voices worried about how photography had already encroached on traditional aesthetic terrains and disciplines, recuperating and presumably demeaning pictorial or dramatic subjects by adapting them as mechanical reproductions. After 1895, however, film culture moved quickly to turn this cultural anxiety to its advantage, as filmmakers worked to attract audiences with well-known images from books now brought to life as Cinderella (1900), Gulliver's Travels (1902), and The aD mnation of Faust (1904).
    [Show full text]
  • Research Scholar ISSN 2320 – 6101 an International Refereed E-Journal of Literary Explorations Impact Factor 0.793 (IIFS)
    Research Scholar ISSN 2320 – 6101 www.researchscholar.co.in An International Refereed e-Journal of Literary Explorations Impact Factor 0.793 (IIFS) DOMESTIC VIOLENCE IN STEPHEN KING’S ROSE MADDER Nitasha Baloria Ph.D. Research Scholar Department of English University of Jammu Jammu- 180001 (J&K) Abstract I read it somewhere, “You’ve given him the benefit of the doubt long enough. Now it’s time to give yourself the benefit of the truth.” Marriages have not been a cup of tea for everyone. You are lucky enough if your marriage is a loving one but not everyone is as lucky. Sometimes the wrong marriages or our wrong partners force us to think that it wasn’t a cakewalk, especially when the matter is of DOMESTIC VIOLENCE. As painful as it is to admit that we are being abused, it is even more painful to come to the conclusion that the person we love is someone we cannot afford to be around. This research paper will focus on the theme of Domestic Violence in the novel of Stephen King’s ROSE MADDER. It focuses on the main protagonist Rosie’s life. How She escapes from her eccentric husband and then makes a path to overcome her fear for her husband, leaves him and finally live a happy Life marrying the right person. Keywords:- Domestic Violence, eccentric, wrong Marrieage. “All marriages are sacred, but not all are safe.” - Rob Jackson This paper entitled, “ Domestic Violence in Stephen King’s Rose Madder” aims to explore the life of a young woman named Rosie who is married and is being tortured by her husband by consistent beating.
    [Show full text]
  • Film Adaptation As the Interface Between Creative Translation and Cultural Transformation
    The Journal of Specialised Translation Issue 29 – January 2018 Film adaptation as the interface between creative translation and cultural transformation: The case of Baz Luhrmann’s The Great Gatsby Katerina Perdikaki, University of Surrey ABSTRACT Adaptation is prominent in many facets of the creative industries, such as the performing arts (e.g. theatre, opera) and various forms of media (e.g. film, television, radio, video games). As such, adaptation can be regarded as the creative translation of a narrative from one medium or mode to another. This paper focuses on film adaptation and examines its role in cultural production and dissemination within the broader polysystem (Even-Zohar 1978a). Adaptation has been viewed as a process which can shed light on meaningful questions on a social, cultural and ideological level (cf. Casetti 2004; Corrigan 2014; Venuti 2007). Nevertheless, an integrated framework for the systematic analysis of adaptations seems to have remained under-researched. The paper puts forward a model for adaptation analysis which highlights the factors that condition adaptation as a process and as a product. In this way, adaptation is studied as a system monitored by economic, creative and social agendas which nevertheless transforms the communicating vessels of the literary system and the film industry. To illustrate this, the paper discusses how the two systems and various creative and socioeconomic considerations interlace in the latest film adaptation of The Great Gatsby (Luhrmann 2013). It concludes on the benefits of a holistic approach to adaptation. KEYWORDS Film adaptation, translation, polysystem, paratexts, creative industries, The Great Gatsby. 1. Introduction Adaptations play a crucial part in the contemporary creative industries.
    [Show full text]
  • Work/Construction Zones
    Work/Construction Zones Page 1 of 2 A work zone is an area where roadwork takes place and may involve lane closures, detours and moving equipment. Highway work zones are set up according to the type of road and the work to be done on the road. The work zone can be long or short term and can exist at anytime of the year, but most commonly in the summer. Work zones on U.S. highways have become increasingly dangerous places for both workers and drivers. There are a large number of work zones in place across America, therefore, highway agencies are working on not only improving communication used in work zones, but to change the behavior of drivers so crashes can be prevented. According to the National Safety Council, over 100 road construction workers are killed in construction zones each year. Nearly half of these workers are killed as a result of being struck by motor vehicles. The number of construction zone injuries and fatalities are predicted to climb even higher. Increased funding for road construction during recent years has led to a significant increase in the number of highway construction projects around the country. Increased speed limits, impatient drivers, and widespread traffic congestion have led to an overall increase in work zone injuries and fatalities. The top 10 states with motorist fatalities in work zones in 2008 are as follows: 1. Texas—134 6. Pennsylvania—23 2. Florida—81 7. Louisiana—22 3. California—70 8. North Carolina—21 4. Georgia—36 9. Arkansas—19 5. Illinois—31 Source: FARS 10.
    [Show full text]
  • Novel Non-Pharmacological Insomnia Treatment – a Pilot Study
    Nature and Science of Sleep Dovepress open access to scientific and medical research Open Access Full Text Article ORIGINAL RESEARCH Novel non-pharmacological insomnia treatment – a pilot study This article was published in the following Dove Press journal: Nature and Science of Sleep Milena K Pavlova1 Objective: The objective of this prospective pilot study was to examine the effects of a Véronique Latreille1 novel non-pharmacological device (BioBoosti) on insomnia symptoms in adults. Nirajan Puri1 Methods: Subjects with chronic insomnia were instructed to hold the device in each hand Jami Johnsen1 for 8 mins for 6 cycles on a nightly basis for 2 weeks. Outcomes tested included standardized Salma Batool-Anwar2 subjective sleep measures assessing sleep quality, insomnia symptoms, and daytime sleepi- ness. Sleep was objectively quantified using electroencephalogram (EEG) before and after 2 Sogol Javaheri2 weeks of treatment with BioBoosti, and wrist actigraphy throughout the study. Paul G Mathew1 Results: Twenty adults (mean age: 45.6±17.1 y/o; range 18–74 y/o) were enrolled in the 1Department of Neurology, Harvard study. No significant side effects were noted by any of the subjects. After 2 weeks of Medical School, Brigham and Women’s BioBoosti use, subjects reported improved sleep quality (Pittsburgh Sleep Quality Index: Hospital, Boston, MA, USA; 2Department of Medicine, Harvard Medical School, 12.6±3.3 versus 8.5±3.7, p=0.001) and reduced insomnia symptoms (Insomnia Severity Brigham and Women’s Hospital, Boston, Index: 18.2±5.2 versus 12.8±7.0, p<0.001). Sleepiness, as assessed by a visual analog For personal use only.
    [Show full text]
  • Where Has All the Magic Gone?: Audience Interpretive Strategies of the Hobbit’S Film- Novel Rivalry
    . Volume 13, Issue 2 November 2016 Where has all the magic gone?: Audience interpretive strategies of The Hobbit’s film- novel rivalry Jonathan Ilan, Bar-Ilan University, Israel Amit Kama, Yezreel Valley Academic College, Israel Abstract: The complex relations between words and images are debated in various disciplines and have been in a variety of modes a thorny issue for centuries. Words are constantly used to represent or embody images (conceptualized as ekphrasis) and vice versa. At the same time, however, words are also considered not sufficient to represent the visual sign, which cannot rely entirely on text. Similarly, the visual cannot rely entirely on the verbal; its understanding should come from representational practices alone, as there is something in the image that is ‘purely image’. Films and novels are accordingly opposed, considered as two separate ‘pure’ entities that are not translatable, and yet share stylistic, narrative, and cultural connections. This essay tackles such relations as they are manifested in audience members’ discussions of the cinematographic Hobbit adaptation(s). More specifically, it is focused on their interpretive strategies in the ways these relate to the novel-film rivalry. Based on qualitative thematic analyses of the 251 Israeli respondents’ open-ended answers, we demonstrate how the film-novel rivalry unveils itself in the audience reception of the film(s) adaptations. Findings reveal diverse and even paradoxical tensions: From a standpoint that the movie is considered a perfect or even ‘better’ representation of the novel, to vehement criticism that it vandalizes the original and ‘misses’ its ‘purpose’ completely, designed entirely to make profit.
    [Show full text]
  • Film, Literature, and Translation
    1 Film, Literature, and Translation: The Reception of Spain in the United States by Andrea Reisenauer Trabajo fin de Máster directed by Luis Pegenaute Departament de Traducció i Filologia Universitat Pompeu Fabra Barcelona, July 2015 2 ABSTRACT There is an increasing amount of research examining the parallels between the translation and adaptation processes, products, and studies themselves. Many Adaptation Studies scholars call for the use of Translation Studies' theoretical and methodological framework provided by the Polysystem theory to help further Adaptation Studies as a discipline. This study seeks to adopt this Polysystem theory to examine both Spanish adaptations and Spanish translations that have been published or released in the United States between 1980 and 2015. In doing so, it intends to not only reveal the preliminary, combined, and reception norms involved, but also to further demonstrate the parallel between these two processes and the value of a Polysystem approach in Translation Studies and Adaptations Studies. 3 TABLE OF CONTENTS ABSTRACT.....................................................................................................................................2 TABLE OF CONTENTS.................................................................................................................3 LIST OF TABLES ..........................................................................................................................5 CHAPTER 1—INTRODUCTION...............................................................................................6
    [Show full text]
  • The Pedagogy of Intertextuality, Genre, and Adaptation: Young Adult Literary Adaptations in the Classroom
    Eastern Illinois University The Keep Undergraduate Honors Theses Honors College 2018 The Pedagogy of Intertextuality, Genre, and Adaptation: Young Adult Literary Adaptations in the Classroom Brooke L. Poeschl Follow this and additional works at: https://thekeep.eiu.edu/honors_theses Part of the Children's and Young Adult Literature Commons, Curriculum and Instruction Commons, and the Secondary Education Commons The Pedagogvcf. interte lm.tality,and GelU'e, Adaptation� YoWlQ.AdWt. Literacy Adap\atloos intheClas&room (TITLE) BY Brooke L. Poeschl UNDERGRADUATE THESIS SUBMITTED rN PARTrAl FUlFfllMENT OF THE REQUIREMENTS OF UNDERGRADUATE DEPARTMENTAL HONORS DEPARTMENT OF .EN.GLISH, ALONG WITH iHE HONORS COLLEGE, €ASr£R-N' .f.LUNOfS UN4VER SffY CHARLESTON, iLLINd1S .'. YEAR 1 HEREBY RECOMMEND.. THJS UNDERGRADUATETHES.JS BE ACCEPTED· AS FULFILLING THE THESIS REQUIREMENT FOR UNDERGRADUATE DEPARTMENTAL HONORS DATE !I?/ 201? HONORS COORDINAfffiR Poeschl 1 The Pedagogy of Intertextuality, Genre, andAdaptation: Young Adult Literary Adaptations in the Classroom Preface There has been a recent shift in the viewpoint of educators in regardto the literary genre known as "Young Adult" (YA L ).1 This genre, with a target audience of readers aged 12 to 18 respectively; is becoming more and more present in the English Language Arts classroom and its application within curriculum has resulted in it sometimes talcingthe place of moretraditionally taught works from the Literary Canon.2 This shift in preference and presence is arguably beneficial to students being that YAL provides a more accessible means by which students can meet Common Core State Standards through texts that are often more interesting to students. Further, there is a growing subset of YAL wherein authors provide a modernized take on literary classics, allowing narratives that have been staples in ELA curricula for decades to become more relatable to their contemporaryadolescent audiences.
    [Show full text]
  • Translation, Reputation, and Authorship in Eighteenth-Century Britain
    Translation, Reputation, and Authorship in Eighteenth-Century Britain by Catherine Fleming A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Catherine Fleming 2018 Translation, Reputation, and Authorship in Eighteenth-Century Britain Catherine Fleming Doctor of Philosophy Department of English University of Toronto 2018 Abstract This thesis explores the reputation-building strategies which shaped eighteenth-century translation practices by examining authors of both translations and original works whose lives and writing span the long eighteenth century. Recent studies in translation have often focused on the way in which adaptation shapes the reception of a foreign work, questioning the assumptions and cultural influences which become visible in the process of transformation. My research adds a new dimension to the emerging scholarship on translation by examining how foreign texts empower their English translators, offering opportunities for authors to establish themselves within a literary community. Translation, adaptation, and revision allow writers to set up advantageous comparisons to other authors, times, and literary milieux and to create a product which benefits from the cachet of foreignness and the authority implied by a pre-existing audience, successful reception history, and the standing of the original author. I argue that John Dryden, Alexander Pope, Eliza Haywood, and Elizabeth Carter integrate this legitimizing process into their conscious attempts at self-fashioning as they work with existing texts to demonstrate creative and compositional skills, establish kinship to canonical authors, and both ii construct and insert themselves within a literary canon, exercising a unique form of control over their contemporary reputation.
    [Show full text]
  • A Description of Theme in Stephen King's Novel Carrie
    A DESCRIPTION OF THEME IN STEPHEN KING’S NOVEL CARRIE A PAPER BY NAME : TAMARA REBECCA REG.NO : 142202013 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OFCULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Parlindungan Purba, M.Hum. NIP. 19630216 198903 1 003 Submitted to Faculty of Cultural Studies, University of North Sumatera In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of Diploma III English Study Program, Dra.SwesanaMardiaLubis.M.Hum. NIP. 19571002 198601 2 003 Approved by the Diploma-III English Study Program Faculty of Culture Studies, University of Sumatera Utara as a Paper for the Diploma-III Examination UNIVERSITAS SUMATERA UTARA Accepted by the board of examiners in partial fulfillment of the requirement for The Diploma-III Examination of the Diploma-III of English Study Program, Faculty of Cultural Studies, University of Sumatera Utara. The Examination is held on : Faculty of Culture Studies, University of Sumatera Utara Dean, Dr. Budi Agustono, M.S. NIP. 19600805198703 1 0001 Board of Examiners : Signed 1. Dra. SwesanaMardiaLubis, M.Hum( Head of ESP) ____________ 2. Drs. ParlindunganPurba, M.Hum( Supervisor ) ____________ 3. Drs. SiamirMarulafau, M.Hum ____________ UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am Tamara Rebecca declare that I am thesole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person’s work has been used without due acknowledgement in the main text of this paper.
    [Show full text]