JKTE Dissertation 2009.03.09
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Eötvös Loránd University of Sciences, Budapest, Hungary Faculty of Humanities Doctoral Dissertation by Eszter Járdánházi-Kurutzné Torma on THE MODERN ENGLISH NOVEL ON FILM submitted in accordance with the requirements for the degree of Doctor of Philosophy (PhD) March 2009 Budapest ESZTER J.K. TORMA – THE MODERN ENGLISH NOVEL ON FILM Doctoral School of Literature Director: Professor Dr Ern ı Kulcsár Szabó Modern English and American Literature Program Director: Professor Dr Aladár Sarbu Members of the Committee President of the Committee: Professor Dr habil. Ágnes Péter CSc Opponents: Dr Ferenc Takács, Associate Professor Professor Dr habil. György Báron DLA Chancellor: Dr Judit Friedrich CSc, Associate Professor Further Members of the Committee: Dr Attila Kiss PhD Alternate Members of the Committee: Dr András Bálint Kovács, Dr Zoltán Dragon Internal Supervisor: Professor Dr Géher István CSc External supervisor Professor Dr Peter Drexler (Universität Potsdam, Postdam, Germany) ii ESZTER J.K. TORMA – THE MODERN ENGLISH NOVEL ON FILM ACKNOWLEDGEMENTS I would like to express my appreciation to my internal and external supervisors, Professor István Géher (Eötvös Loránd University of Sciences, Budapest) and Professor Peter Drexler (University of Potsdam, Potsdam) for all the knowledge they shared with me and for their never ceasing encouragement and enthusiasm regarding my area of work. I will always be thankful for their professional inputs as well as personal caring during the time of my promotion as a PhD student. I would like to thank Professor Aladár Sarbu for his meaningful and critical insights to my research topic and his exquisit help in the bureaucratic maze of the doctoral procedure. I would also like to acknowledge Dr Ferenc Takács and Dr György Báron for their useful comments on my dissertation and for their professional corrections in the text. I very much appreciate the work of Mr Milt Hostetter “Grandpa” for the editing and correction of the dissertation text as a nativ speaker. Thanks are also due to my entire family, especially to my mother, Mária Torma and my husband, Dániel Járdánházi-Kurutz who always encouraged and supported me to pursue what I love to do professionally. I am also grateful to my mother-in-law, Professor Márta Kurutz for the example she set me professionally as well as personally. ACKNOWLEDGEMENTS iii ESZTER J.K. TORMA – THE MODERN ENGLISH NOVEL ON FILM iv ESZTER J.K. TORMA – THE MODERN ENGLISH NOVEL ON FILM TABLE OF CONTENTS ACKNOWLEDGEMENTS..........................................................................................................................III TABLE OF CONTENTS................................................................................................................................V INTRODUCTION........................................................................................................................................... 9 CHAPTER 1 .................................................................................................................................................. 13 ADAPTATION : HISTORY AND THEORY ......................................................................................................... 13 The Source of Contempt......................................................................................................................... 14 A few notes on the history of adaptation................................................................................................ 17 The Fidelity Conflict .............................................................................................................................. 21 Theories of Adaptation........................................................................................................................... 24 Possible Solutions.................................................................................................................................. 33 CHAPTER 2 .................................................................................................................................................. 37 THE MODERN BRITISH FICTION ON PAPER AND ON THE BIG SCREEN .......................................................... 37 Cultural and Historical Background ..................................................................................................... 37 The Modern Novel at the Beginning of the Century............................................................................... 40 The Beginnings of the British Film ........................................................................................................ 45 Cultural and Historical Background ..................................................................................................... 46 The Modern Novel around World War II............................................................................................... 47 Hitchcock, Asquith and Korda and the Films Around World War II..................................................... 49 Cultural and Historical Background ..................................................................................................... 52 The Modern Novel: The Post-war Years and the New Wave................................................................. 54 British Film: The Post-war Years and the New Wave ........................................................................... 58 Cultural and Historical Background ..................................................................................................... 59 The Modern Novel ................................................................................................................................. 61 British Film from the Swingin’ Sixties on .............................................................................................. 65 Cultural and Historical Background ..................................................................................................... 66 The British Novel under Margaret Thatcher ......................................................................................... 69 Movies in the 1980s and 1990s.............................................................................................................. 72 CHAPTER 3 .................................................................................................................................................. 79 MAURICE ..................................................................................................................................................... 79 Reasons Behind Making The Film ......................................................................................................... 79 What makes Maurice a typical heritage film? ....................................................................................... 80 The Significance of the Novel and the Film ........................................................................................... 82 Crossing sexual boundaries................................................................................................................... 85 Crossing class boundaries ..................................................................................................................... 89 Social criticism ...................................................................................................................................... 91 TABLE OF CONTENTS v ESZTER J.K. TORMA – THE MODERN ENGLISH NOVEL ON FILM Representation of women in the film ......................................................................................................93 Humor.....................................................................................................................................................96 Physical vs. Intellectual..........................................................................................................................97 Major Cardinal Functions....................................................................................................................100 Character Functions.............................................................................................................................103 Motivation Behind Clive’s Transition: Added Parts ............................................................................103 Segmentation and Camerawork............................................................................................................106 Mise-en-scène.......................................................................................................................................107 Dialogues..............................................................................................................................................109 Music ....................................................................................................................................................110 A Short Note on the Ending ..................................................................................................................111 CHAPTER 4 .................................................................................................................................................113 ORLANDO ...................................................................................................................................................113 Virginia Woolf and Her Style ...............................................................................................................113