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Esther Caroline Jaquemar Universität für Angewandte Kunst Wien Diplomarbeit „C’est un film...non...c’est un livre.“ Exemplarische Analyse von Comic- und Filmadaptionen am Beispiel von Germaine Dulacs La souriante madame Beudet und Posy Simmonds Gemma Bovery. verfasst von Esther Caroline Jaquemar angestrebter akademische Grad Magistra Artium (Mag.a art.) eingereicht an der Universität für Angewandte Kunst Wien am Institut für Kunstwissenschaften, Kunstpädagogik und Kunstvermittlung Wien, Dezember 2019 Studienkennzahl lt. Studienblatt: S 190 590 347 A Studienrichtung lt. Studienblatt: Lehramtsstudium UF Bildnerische Erziehung UF Französisch Betreut von: Univ.-Prof. Mag.a Dr.in phil. Gabriele Jutz Eidesstattliche Erklärung: Ich, Esther Jaquemar, erkläre hiermit, dass ich die Diplomarbeit selbstständig verfasst, keine andere als die angegebenen Quellen und Hilfsmittel benutzt und mich auch sonst keiner unerlaubten Hilfen bedient habe, dass diese Diplomarbeit weder im In- noch Ausland (einer Beurteilerin oder einem Beurteiler zur Beurteilung) in irgendeiner Form als Prüfungsarbeit vorgelegt wurde, dass dieses Exemplar mit der beurteilten Arbeit übereinstimmt. Ort, Datum ................................................................................................ Unterschrift Abstract: Die Diplomarbeit hat ausgewählte Comic- und Filmadaptionen, die sich an dem literarischen Thema von Madame Bovary anlehnen, zum Thema und beschäftigt sich mit der Frage, ob und warum diese beiden Arten von Medien besonders gut für intermediale Transfers geeignet sind. Im ersten Teil der Arbeit wird eine Definition von Intermedialität vorgestellt sowie auf die verschiedenen Typen eingegangen. Des Weiteren stellt sich heraus, dass sich Comics und Filme vieler ähnlicher Erzählstrukturen bedienen. Die Besonderheit aber ist, dass die Sequenzialität von Bildern, sowohl in Form von Panels als auch von Einstellungen, das wichtigste gemeinsame narrative Merkmal dieser beiden Medientypen darstellt. Diese Erkenntnis wird sogleich mithilfe von Film- und Comicanalysen zur Probe gestellt. Das Ziel ist es, diese Form von Adaption in beide Richtungen analysieren zu können, das heißt sowohl von Comic zu Film als auch von Film zu Comic. Das erste Beispiel ist die Filmadaption des Comics Gemma Bovery, bei der sich am Beispiel mehrerer Ausschnitte zeigt, dass man sich stark am Vorbild orientieren konnte, teilweise die Einstellungen direkt übernehmen konnte und es trotzdem möglich war ein eigenständiges Werk mit einer unterschiedlichen Botschaft zu produzieren. La souriante madame Beudet wird schlussendlich benutzt, um als Ausgangsmedium für eine eigene künstlerischen Arbeit in Form einer Comicadaption zu dienen und die zweite für diese Arbeit relevante Form der Adaption, jene von Film zu Comic, durchzuführen und somit den Kreis zu schließen. Abstract: The diploma thesis discusses chosen film and comic adaptations that are inspired by the literary theme of Madame Bovary. It addresses the question why and how these two types of media are especially fit to be the subject of cross media transfers. The first part of the thesis explains intermediality and shows how comics and films are similar in the way they tell stories. The most apparent similarity in this example is the narrativity in form of sequences of pictures, acting as comic panels and film perspective. This insight can immediately be tested by carrying out analysis of both the comic and the two films. It is the objective to analyze this form of adaptation in both ways, from comic to film as well as film to comic. The film adaptation of the comic Gemma Bovery is the first example that shows, by interpreting multiple scenes, that it is possible for a film adaptation to be strongly inspired by the original, to the point of recreating scenes and still be able to produce a distinctive work with its own meaning. Finally, by taking the movie La souriante madame Beudet to produce our own comic adaptation, the earlier analysis is used to complete the adaptation in in both ways. 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