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(On)Verfilmbaar Filmadaptaties Van Experimentele Romans

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(On)Verfilmbaar Filmadaptaties Van Experimentele Romans Universiteit Gent Faculteit Letteren & Wijsbegeerte Academiejaar 2012-2013 (On)verfilmbaar Filmadaptaties van experimentele romans Masterthesis voorgelegd tot het bekomen van de graad van Master in de Vergelijkende Moderne Letterkunde Ans Debruyne Promotor: prof. dr. Bart Keunen Inhoudsopgave Lijst van figuren ...................................................................................................................................... 2 Dankwoord .............................................................................................................................................. 4 1 Inleiding .......................................................................................................................................... 5 2 Literatuurstudie ............................................................................................................................... 7 2.1 Onderzoeksveld adaptatiestudies: op zoek naar de beste invalshoek ...................................... 7 2.2 ‘Het boek is beter dan de film’ .............................................................................................. 12 2.3 Specifieke eigenschappen van literatuur en film ................................................................... 15 2.4 ‘Onverfilmbare’ boeken ........................................................................................................ 24 2.5 Methodologie voor de evaluatie van adaptaties .................................................................... 27 2.5.1 Extratekstuele aspecten ................................................................................................. 27 2.5.2 Intratekstuele aspecten .................................................................................................. 31 2.5.3 Globale evaluatie ........................................................................................................... 39 3 Casestudies .................................................................................................................................... 40 3.1 Tristram Shandy .................................................................................................................... 41 3.1.1 Extratekstuele aspecten ................................................................................................. 42 3.1.2 Intratekstuele aspecten .................................................................................................. 48 3.1.3 Globale evaluatie ........................................................................................................... 69 3.2 Extremely Loud & Incredibly Close ...................................................................................... 71 3.2.1 Extratekstuele aspecten ................................................................................................. 72 3.2.2 Intratekstuele aspecten .................................................................................................. 76 3.2.3 Globale evaluatie ......................................................................................................... 103 4 Discussie ..................................................................................................................................... 108 5 Conclusie ..................................................................................................................................... 117 Bibliografie ......................................................................................................................................... 119 1 Lijst van figuren Figuur 1. Gravure: Dr. Slop, Uncle Toby, Walter Shandy, Corporal Trim (Sterne 126). .................... 52 Figuur 2. Gravure: Walter Shandy, Parson Tristram, Tristram, Susannah (Sterne 276). ..................... 53 Figuur 3, 4, 5 & 6. Dr. Slop ziet er even onverzorgd uit als verwacht kon worden, is een stuk groter en magerder. .............................................................................................................. 53 Figuur 7 & 8. Shandy Hall. .................................................................................................................. 55 Figuur 9, 10, 11 & 12. Verteller Tristram kijkt toe op scènes waarin hij zelf voorkomt als kind (9, 10 & 11) of waarin hij nog niet geboren was (12). .......................................................................... 56 Figuur 13 & 14. Verteller Tristram pauzeert het beeld, gaat er voor staan en becommentarieert. ...... 56 Figuur 15 & 16. 'Diawissels'. ............................................................................................................... 57 Figuur 17 & 18. Interactie met de acteur die de jonge Tristram speelt. ............................................... 58 Figuur 19. Gimmickry: typografisch experiment (censuur door asterisken) en squiggly lines diagrammen (Sterne 454-55). .................................................................................... 59 Figuur 20. Gimmickry: squiggly line diagram (Sterne 588-89). ........................................................... 60 Figuur 21. Gimmickry: lege pagina (plaats voor lezers om hun eigen voorstelling van Widow Wadman te tekenen) (Sterne 452-53). ...................................................................................... 60 Figuur 22. Gimmickry: lege pagina (hoofdstuk nog niet geschreven, staat verder in boek) (Sterne 604-05). ..................................................................................................................................... 61 Figuur 23. Gimmickry: lege pagina (hoofdstuk nog niet geschreven, staat verder in het boek) en typografisch experiment (censuur door asterisken en streepjes) (Sterne 606-07). ........................... 61 Figuur 24. Gimmickry: typografisch experiment en zwarte pagina (Sterne 30-31). ............................ 62 Figuur 25. Gimmickry: gemarmerde pagina (Sterne 214-15). .............................................................. 62 Figuur 26 & 27. Gimmickry: zwart scherm. ......................................................................................... 63 Figuur 28 & 29. Gimmickry: iris outs. ................................................................................................. 63 Figuur 30 & 31. Gimmickry: split screens. .......................................................................................... 64 Figuur 32 & 33. Gimmickry: veldslag op een kaart. ............................................................................ 64 Figuur 34 & 35. Gimmickry: het model van een kanon vuurt, het vuur wordt gebruikt als cross-fade naar de volgende scène. ........................................................................................................ 64 Figuur 36. Gimmickry: combinatie van de modellen van wapens met echte manschappen in de achtergrond. .................................................................................................................................. 64 Figuur 37. Gimmickry: de hand van Walter grijpt naar zijn pijp in de veldslag. .................................. 64 Figuur 38 & 39. Gimmickry: Coogan in een miniatuur baarmoeder, terwijl het decor en de andere acteurs hun normale grootte hebben. ................................................................................ 65 Figuur 40 & 41. Humor: Obadiah rijdt Dr. Slop van zijn paard. ......................................................... 67 Figuur 42, 43, 44 & 45. Humor: demonstratie van de forceps. ............................................................ 67 Figuur 46 & 47. Humor: Where exactly were you wounded? - I received my wound right here. ........ 68 Figuur 48 & 49. Humor: de chestnut scene. ......................................................................................... 68 Figuur 50, 51, 52 & 53. Een man (mogelijk zijn vader) vliegt in Oskars fantasie terug in de WTC-toren (film). ........................................................................................................................ 81 Figuur 54, 55, 56 & 57. Een man (mogelijk zijn vader) vliegt in Oskars fantasie terug in de WTC-toren (boek; Foer 327-55). .................................................................................................. 81 Figuur 58 & 59. Oskars grootmoeder ziet er strenger uit dan verwacht. ............................................. 83 Figuur 60. Typografisch experiment: Oskar gebruikt zijn gevoelens als een soort tussentitels, maar moet die voortdurend aanpassen omdat zijn gevoelens veranderen (Foer 170-71). ..................... 86 Figuur 61. Typografisch experiment: de biografische kaartjes in A.R. Blacks index (Foer 158-59). .. 87 2 Figuur 62. Typografisch experiment: voor elk nieuw antwoord gebruikt Thomas Schell Sr. een nieuwe pagina in zijn schriftje (Foer 140-41). ................................................................................ 87 Figuur 63. Typografisch experiment: de papieren waarop mensen hun stiften uittesten in de knutselwinkel en waarop Oskar de naam “Thomas Schell” vindt (Foer 48-49). ......................... 88 Figuur 64. Typografisch experiment en afbeeldingen: enkel wat Oskar van het gesprek tussen zijn moeder en zijn psycholoog kan opvangen wordt hier weergegeven. Als Oskar hoort dat de dokter hem wil hospitaliseren, ziet hij weer het beeld van de vallende man voor zich (Foer 204-05). ........... 88 Figuur 65. Afbeeldingen: deurknop in Thomas Sr.'s brief. Hij verbrandde zijn handen aan de deurknop van zijn huis tijdens het bombardement op Dresden en
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