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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. -
Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. -
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing. -
1 Veit Harlan and Jud Süß – Conrad Veidt and Jew Süss Veit Harlan And
1 Veit Harlan and Jud Süß – Conrad Veidt and Jew Süss Veit Harlan and Conrad Veidt were both associated with the flowering of German stage and cinema in the Weimar Republic. Veidt, born in 1893, was already a major figure, starring in productions like The Cabinet of Dr.Caligari that made cinema history. Harlan, seven years younger, was beginning to make a name for himself on the stage. When Hitler came to power their paths diverged diametrically. Harlan was an opportunist, made his peace with the regime and acquired a reputation as a director of films. Later he and his second wife, Hilde Körber, became friends of Goebbels. In April 1933 Conrad Veidt, who had just married his Jewish third wife, Lily Prager, left Germany after accepting the role of the German Commandant in the British film I was a Spy . When he returned to Germany the Nazis detained him to stop him taking the lead role in the projected British Jew Süss film. He eventually got out, but his acceptance of the role made the breach with his native country irrevocable. Six years later Harlan was persuaded by Goebbels to take on the direction of Jud Süß , the most notorious but also one of the most successful of the films made under the auspices of the Nazi Propaganda Ministry. Kristina Söderbaum, then his wife, took the female lead. In the meantime Conrad Veidt had moved to Hollywood and in 1942 appeared as Major Strasser, the German officer, in Casablanca , a role for which he is probably best known in the Anglo-Saxon world. -
Novel to Novel to Film: from Virginia Woolf's Mrs. Dalloway to Michael
Rogers 1 Archived thesis/research paper/faculty publication from the University of North Carolina at Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ Novel to Novel to Film: From Virginia Woolf’s Mrs. Dalloway to Michael Cunningham’s and Daldry-Hare’s The Hours Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Fall 2015 By Jacob Rogers ____________________ Thesis Director Dr. Kirk Boyle ____________________ Thesis Advisor Dr. Lorena Russell Rogers 2 All the famous novels of the world, with their well known characters, and their famous scenes, only asked, it seemed, to be put on the films. What could be easier and simpler? The cinema fell upon its prey with immense rapacity, and to this moment largely subsists upon the body of its unfortunate victim. But the results are disastrous to both. The alliance is unnatural. Eye and brain are torn asunder ruthlessly as they try vainly to work in couples. (Woolf, “The Movies and Reality”) Although adaptation’s detractors argue that “all the directorial Scheherezades of the world cannot add up to one Dostoevsky, it does seem to be more or less acceptable to adapt Romeo and Juliet into a respected high art form, like an opera or a ballet, but not to make it into a movie. If an adaptation is perceived as ‘lowering’ a story (according to some imagined hierarchy of medium or genre), response is likely to be negative...An adaptation is a derivation that is not derivative—a work that is second without being secondary. -
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. -
MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda
PRESS PACK CANNES CLASSICS OFFICIAL SELECTION 2015 MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda Thursday 21 May 2015 at 5pm, Buñuel Theatre Raimu and Pierre Fresnay in Marius by Marcel Pagnol (1931). Directed by Alexander Korda. Film restored in 2015 by the Compagnie Méditerranéenne de Films - MPC and La Cinémathèque Française , with the support of the CNC , the Franco-American Cultural Fund (DGA-MPA-SACEM- WGAW), the backing of ARTE France Unité Cinéma and the Archives Audiovisuelles de Monaco, and the participation of SOGEDA Monaco. The restoration was supervised by Nicolas Pagnol , and Hervé Pichard (La Cinémathèque Française). The work was carried out by DIGIMAGE. Colour grading by Guillaume Schiffman , director of photography. Fanny by Marcel Pagnol (Directed by Marc Allégret, 1932) and César by Marcel Pagnol (1936), which complete Marcel Pagnol's Marseilles trilogy, were also restored in 2015. "All Marseilles, the Marseilles of everyday life, the Marseilles of sunshine and good humour, is here... The whole of the city expresses itself, and a whole race speaks and lives. " René Bizet, Pour vous , 15 October 1931 SOGEDA Monaco LA CINÉMATHÈQUE FRANÇAISE CONTACTS Jean-Christophe Mikhaïloff Elodie Dufour Director of Communications, Press Officer External Relations and Development +33 (0)1 71 19 33 65 +33 (0)1 71 1933 14 - +33 (0)6 23 91 46 27 +33 (0)6 86 83 65 00 [email protected] [email protected] Before restoration After restoration Marius by Marcel Pagnol (1931). Directed by Alexander Korda. 2 The restoration of the Marseilles trilogy begins with Marius "Towards 1925, when I felt as if I was exiled in Paris, I realised that I loved Marseilles and I wanted to express this love by writing a Marseilles play. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
Translation and Geopolitical Relations SECTION I: VENUTI References Bennett, Paul
Translation and Geopolitical Relations SECTION I: VENUTI References Bennett, Paul (1999) Review of The Scandals of Translation by Lawrence Venuti, The Translator 5(1): 127-134. Boyden, Michael (2006) „Language Politics, Translation, and American Literary History‟, Target 18(1): 121-137. Lane-Mercier, Gillian (1997) „Translating the Untranslatable: The Translator‟s Aesthetic, Ideological and Political Responsibility‟, Target 9(1): 43-68. Pym, Anthony (1996) „Venuti‟s Visibility‟, Target 8(2): 165-177. Tymoczko, Maria (2000) „Translation and Political Engagement: Activism, Social Change and the Role of Translation in Geopolitical Shifts‟, The Translator 6(1): 23-47. Venuti, Lawrence (1990) „Genealogies of Translation Theory: Schleiermacher‟, TTR 4(2): 125-150. Venuti, Lawrence (ed.) (1992) Rethinking Translation. Discourse, Subjectivity, Ideology, London & New York: Routledge. Venuti, Lawrence (1993/2010) „Translation as Cultural Politics: Regimes of Domestication in English‟, Textual Practice 7: 208-23; reprinted in Mona Baker (ed.) Critical Readings in Translation Studies, London & New York: Routledge, 65-79. Venuti, Lawrence (1995a) The Translator’s Invisibility, London & New York: Routledge. Venuti, Lawrence (1995b) „Translation, Authorship, Copyright‟, The Translator 1(1): 1-24. Venuti, Lawrence (1998a) „Strategies of Translation‟, in Mona Baker (ed.) Routledge Encyclopedia of Translation Studies, London: Routledge, first edition. Venuti, Lawrence (1998b) The Scandals of Translation. Towards an Ethics of Difference, London & New York: Routledge. Venuti, Lawrence (ed) (1998c) Translation and Minority. Special issue of The Translator 4(2). Venuti, Lawrence (2000) „Translation, Community, Utopia‟, in Lawrence Venuti (ed.) The Translation Studies Reader, London & New York: Routledge, 468-488. Venuti is concerned that translation is a means by which Anglo-American society (a) imposes its cultural values on a vast foreign readership, and (b) ensures that its culture at home remains aggressively monolingual. -
The Importance of the Weimar Film Industry Redacted for Privacy Abstract Approved: Christian P
AN ABSTRACT OF THE THESIS Tamara Dawn Goesch for the degree of Master of Arts in Interdisciplinary Studies in Foreign Languages and Litera- tures (German), Business, and History presented on August 12, 1981 Title: A Critique of the Secondary Literature on Weimar Film; The Importance of the Weimar Film Industry Redacted for Privacy Abstract approved: Christian P. Stehr Only when all aspects of the German film industry of the 1920's have been fully analyzed and understood will "Weimar film" be truly comprehensible. Once this has been achieved the study of this phenomenon will fulfill its po- tential and provide accurate insights into the Weimar era. Ambitious psychoanalytic studies of Weimar film as well as general filmographies are useful sources on Wei- mar film, but the accessible works are also incomplete and even misleading. Theories about Weimar culture, about the group mind of Weimar, have been expounded, for example, which are based on limited rather than exhaustive studies of Weimar film. Yet these have nonetheless dominated the literature because no counter theories have been put forth. Both the deficiencies of the secondary literature and the nature of the topic under study--the film media--neces- sitate that attention be focused on the films themselves if the mysteries of the Weimar screenare to be untangled and accurately analyzed. Unfortunately the remnants of Weimar film available today are not perfectsources of information and not even firsthand accounts in othersour- ces on content and quality are reliable. However, these sources--the films and firsthand accounts of them--remain to be fully explored. They must be fully explored if the study of Weimar film is ever to advance. -
Carmen Cartellieri
Carmen Cartellieri Also Known As: Franziska Ottilia Cartellieri, Carmen Teschen, Mrs. Emanuel Ziffer Edler von Teschenbruck, Mrs. Mano Ziffer-Teschenbruck Lived: June 28, 1891 - October 17, 1953 Worked as: co-screenwriter, film actress, producer, theatre actress Worked In: Austria, Germany, Hungary by Robert von Dassanowsky Carmen Cartellieri was born Franziska Ottilia Cartellieri in Prossnitz, Austria-Hungary, which is today Prostejov, Czech Republic, but spent her childhood in Innsbruck, Austria. In 1907, at age sixteen, she married the aristocratic artist-turned-director, Emanuel Ziffer Edler von Teschenbruck. Her husband and Cornelius Hintner, a cameraman from South Tyrol who had worked for Pathé in Paris and then as a director in Hungary, helped make her one of the most fashionable stars in German-language film of the 1920s. Using the stage name of Carmen Teschen, she appeared in several Hungarian silent films between 1918 and 1919 and made her Austrian film debut in Hintner’s Die Liebe vom Zigeunerstamme/The Gypsy Girl (1919), which she reportedly cowrote. Political changes in postwar Hungary made her relocate to Vienna where she returned to her exotic surname, suggesting to the press that she was born in Italy, and founded the Cartellieri-Film company in 1920 with her husband and Hintner. The first two Cartellieri-Film productions in Vienna transferred her Hungarian fame into true stardom. Carmen lernt Skifahren/Carmen Learns to Ski (1920), a broad comedy directed by her husband, now known as Mano Ziffer-Teschenbruck, was clearly aimed at gaining Cartellieri wider recognition. Die Würghand/Die Hand des Teufels/The Hand of the Devil (1920), a crime drama set in the mountains and directed by Hintner, was critically praised for its style and narrative effectiveness as well as for Cartellieri’s performance as the femme fatale. -
A Comparison Between the Translation Dichotomies Suggested by Juliane House and Lawrence Venuti
Journal of Practical Studies in Education ISSN: 2634-4629 www.jpse.gta.org.uk A Comparison between the Translation Dichotomies Suggested by Juliane House and Lawrence Venuti Seyyed Yahya Barkhordar (Corresponding author) Allameh Tabataba’i University, Iran Email: [email protected] Reza Fatemi Imam Reza International University, Iran Received: 20/08/2020 Accepted: 07/10/2020 Published: 01/11/2020 Volume: 1 Issue: 2 How to cite this paper: Barkhordar, S. Y. & Fatemi, R. (2020). A Comparison between the Translation Dichotomies Suggested by Juliane House and Lawrence Venuti. Journal of Practical Studies in Education, 1(2), 9-15 DOI: https://doi.org/10.46809/jpse.v1i2.13 Copyright © 2020 by author(s) and Global Talent Academy Ltd. This work is licensed under the Creative Commons Attribution International License (CC BY 4.0). http://creativecommons.org/licenses/by/4.0/ Abstract Juliane House has split translation into “overt” and “covert” types. Translation has been classified by Lawrence Venuti into “domestication” and “foreignization”. This research attempted to compare the translation typologies rendered by House and Venuti. House’ and Venuti’s translation typologies are similar in 8 points and differ in 4 ones. Overt translation corresponds to foreignization and covert translation to domestication. Dichotomy is neither superior nor inferior to the others. Keywords: Overt Translation, Covert Translation, Foreignization, Domestication, Cultural Filter, Translator’s Invisibility 1. Introduction Communication is a complex and dynamic process. It has a message sender and a message receiver. The former encodes the meaning into a form that the latter recognizes. The receiver decodes the form back into meaningful messages.