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Impossible Origins: Trauma Narrative and Cinematic Adaptation

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Impossible Origins: Trauma Narrative and Cinematic Adaptation arts Article Impossible Origins: Trauma Narrative and Cinematic Adaptation Linda Belau Department of Literatures and Cultural Studies, The University of Texas-Rio Grande Valley, Edinburg, TX 78539, USA; [email protected] Abstract: In this essay, I explore the cinematic adaptation and the representation of trauma, while I further consider the role and significance of the notion of the origin in both trauma and in cinematic adaptation. Through an initial consideration of the relationship between the theory of the impossible origin, particularly as it is articulated by Walter Benjamin, the essay goes on to analyze the significance and role of an impossible origin in the elemental form of adaptation. To this end, the essay considers the movement of adaptation from an autobiographical trauma memoir to a feature film, considering the success or failure of adaptation in situations where the original literary work concerns an experience of extremity. As I consider the vicissitudes of trauma and its grounding in a repetitious structure that leaves the survivor suspended in a kind of missed experience (or missed origin), I further explore how this missing origin (or original text in the case of adaptation) can be represented at all. Keywords: adaptation; trauma; origin; psychoanalysis; repetition; impossibility; loss; representation; extremity; writing; image; failure; memoir; missed experience Origin is an eddy in the stream of becoming, and in its current it swallows the material involved in the process of genesis. Citation: Belau, Linda. 2021. Impossible Origins: Trauma Walter Benjamin Narrative and Cinematic Adaptation. Arts 10: 15. https://doi.org/ 1. Introduction 10.3390/arts10010015 In this essay, I explore the relation between cinematic adaptation and the represen- tation of trauma, considering the success or failure of adaptation in situations where the Received: 14 October 2020 original literary work concerns an experience of extremity. Focusing on the impossibility of Accepted: 5 February 2021 representation in the writing of trauma, my essay considers how the fundamental impasse Published: 22 February 2021 that makes writing about trauma fraught with difficulty, particularly in the memoir form, is not readily adaptable to the cinematic form. With attention to the manner in which Publisher’s Note: MDPI stays neutral the impossibility that is fundamental to any attempt at articulation of trauma is managed with regard to jurisdictional claims in in the transition from writing to the image, I consider the narrative memoir since this published maps and institutional affil- form of trauma writing is considerably less mediated in terms of the representation of iations. extreme experience than fictional narrative. At the same time, however, it is the mode of literary writing that is least palatable to audiences for commercial dissemination, mak- ing the adaptation of the trauma narrative difficult in terms of producing a successfully marketable film. Through an examination of the work of Solomon Northup, whose slave Copyright: © 2021 by the author. narrative/trauma memoir was adapted into the Oscar-winning Best Picture film Twelve Licensee MDPI, Basel, Switzerland. Years a Slave, I consider how this adaptation is able to faithfully articulate the impossible This article is an open access article void and failure of representation that characterizes the origin text while, at the same time, distributed under the terms and presenting a story that rose to commercial success. conditions of the Creative Commons In order, then, to proceed toward a counter-narrative that will open on to a different Attribution (CC BY) license (https:// theory of adaptation, I would like to consider another notion of origin and turn to the creativecommons.org/licenses/by/ 4.0/). work of Walter Benjamin. Given the fraught relation in the experience of trauma to the Arts 2021, 10, 15. https://doi.org/10.3390/arts10010015 https://www.mdpi.com/journal/arts Arts 2021, 10, 15 2 of 8 event itself—that is, to an original experience—that might or might not be represented, either in the very consciousness or understanding of the survivor or in any sort of literary or cinematic text that he/she/they might endeavor to produce as a means of working through, a meditation on the nature of the origin or an original text and the experiences, events, or copies that might be engendered in relation to it and as a rearticulation of it seems very much the place to begin this essay. 2. The Impossible Origin In his seminal work, The Origin of German Tragic Drama, Benjamin discusses, among other things, the Baroque German tragic drama artform, Die Trauerspiel, in a manner that was quite unexpected for the time. Rather than engaging with more popular and well- known figures, Benjamin focused instead on the outliers of the movement in order to pursue a stunning theory of allegory that would explore the vicissitudes of appropriation between literary and philosophical traditions, ultimately arguing that the allegorical func- tion of melancholia presents a proper form of modernist nostalgia focused, ultimately, on a process of borrowing—that is, of copying and/or handing down—from a tradition in a manner that does not necessarily occur along the straight corridor that many assume. According to Michael Osman, “any arguments for the historical validity of Benjamin’s theories must be based first on his own title, which insists on seeing Trauerspiel through its origin (or Ursprung) as opposed to its genesis (or Entstehung). In contrast to the necessarily forward movement of creation implied by genesis, origin, as he sees it, is a momentary and recognizable suspension between the past and the future.” Quoting Samuel Weber, Osman continues: “This is the discreet, discontinuous, un-genetic aspect of the origin . entirely incompatible with any sort of linear or dialectical development” (Osman 2005, p. 22). In his “Epistemo-Critical Prologue”, Benjamin himself writes, “the term origin is not intended to describe the process by which the existent came into being, but rather to describe that which emerges from a process of becoming and disappearance” (Benjamin 1998, p. 45). Thus, the copy and the origin, he argues, do not align in the manner of simple cause and effect, of pure language that is carried over in a smooth, logical transition (or translation) that renders the copy a pure image of a fully formed and ontologically consistent arche.1 I begin by way of a deferral with this reflection on the messianic work of Benjamin and his positing of an absent or vanishing origin in the process of translation and/or the transmission of textual material from one form to another since it both introduces us to an early theory of trauma that aligns well with more contemporary deconstructionist- inflected theories of trauma that posit the impossible origin of traumatic experience and also since it parallels the concerns, albeit in a more negative manner, of traditional theories of cinematic adaptation. In classical trauma studies, the notion of the impossible origin is, perhaps, the very kernel of the theory since the notion of traumatic experience as resistant to representation and, in fact, inaccessible to the survivor of the event is the starting point—the unstable origin, as it were—which much of the theory circles around. From Sigmund Freud to Cathy Caruth, the notion of an impossible experience that cannot be fully understood or accessed, other than in its repetition in the failure of its inscription, is an elemental insight. And, while it may seem that there is little relation between this theory and theories of adaptation, I would argue that the issue of the origin, of its accessibility and its possibility, is key to both theories. Further, given that a number of textual literary works that focus on the experience of trauma have been adapted into visual media in the form of cinema or television, it seems even more relevant to think through the parameters of these two theories in relation to each other and in a way that interrogates the seminal 1 Benjamin’s other major work, “The Task of the Translator” (Benjamin 2007), often studied and cited by literary theorists, pursues the notion of translation in relation to what he calls “pure language”. In this essay, Benjamin also pursues an extended meditation on the relation between a text and the impossibility of its translation and, by extension, the necessarily anaclitic notion of the negative relation between an original and its copy. While this essay does not engage with the issues of allegory, melancholia, and, ultimately, trauma, in the way that the Trauerspiel study could be argued to do so, it is, nonetheless, an interesting and relevant mediation on the nature of borrowing and copying, of translation and adapting, as it were, from one medium to another. Arts 2021, 10, 15 3 of 8 assumptions of conventional adaptation theory, particularly those theories that presuppose a stable and coherent origin that might be copied, either successfully or not. 3. Trauma and the Impossible Origin In the context of humanities-oriented discourses on the representation of trauma, it is, seemingly, the autobiographical narrative that offers the most reliable access to—or positivization of—traumatic experience. Since it is the autobiographical witness account that attempts to re-tell the trauma, to describe the traumatic event, and to make sense of the injury, it would seem, on the surface, that such a narrative could represent the experience of trauma. Traditional autobiographical narratives, however, do not begin to do justice to the survivor’s relation to the event. Many trauma narratives, in fact, speak of a living death that cannot be socially contextualized within ordinary parameters of understanding. Responding to a radical disruption of meaning, the survivor is suspended in an experience that cannot be addressed directly in the realm of representation. Since this exposure itself is experienced as traumatic, it is actually the impossibility of representation that the survivor witnesses.
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