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"Conrad, Joseph, 1857-1924. Adaptations."
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Rethinking Film Adaptation Through Directors’ Discourse and Auteur Theory: Approaching Dan Brown’s The Da Vinci Code
This article examines the apropos of Dan Brown’s novel - adaptation, The Da Vinci Code, to the director’s discourses around the film adaptation of a literary work. Ron Howard’s stance as an auteur is assessed to gauge him as an illustrator of American filmmaking in terms of auteur discourses and formulate that his work disavows significant portions of the Catholic conspiracies, sidestepping the subject of authenticity, which is at the forefront of contemporary literature adaptation discourses. Despite appearing to be more ‘authentic,’ the film falls short of the fidelity to source material that was an avowedly auteurist vision and is shown to have issues with authorship. This paper proposes the contemporary auteur influence, examining how the concept of directors’ discourse functions in the Hollywood film industry and the director’s stature as an auteur and the works’ creative style in literary, screen adaptation and movie translation.
Journal Article
Joseph Conrad's Heart of darkness
\"Acclaimed cartoonist Peter Kuper delivers a powerful interpretation of this controversial classic. Heart of Darkness has unsettled generations of readers with its haunting portrait of colonialism and brutal exploitation in Africa. Now award-winning illustrator Peter Kuper reimagines Conrad's masterpiece for a new generation, transforming this dramatic tale of madness, greed, and evil into something visually immersive and profoundly complex. Drawn in pen, black pencil, and ink wash reminiscent of the etchings and lithography of Francisco Goya and Honoré Daumier, Kuper's Heart of Darkness captures the ominous atmosphere and tempo of Charles Marlow's journey up the River Congo. Kuper's images and concise text confront Conrad's colonial attitudes and systemic racism yet leave room for readers to engage with these issues on their own terms. Longtime admirers of the novella will appreciate Kuper's innovative interpretations and see Conrad's opus with fresh eyes, while new readers will discover a brilliant introduction to a canonical work of twentieth- century literature\"-- Provided by publisher.
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How Not to Adapt Under Western Eyes to Film
This article presents a history of several attempts to produce a film version of Conrad's novel Under Western Eyes. It focuses specifically on the work of Adam Gillon in this area. In Gillon's co-authored screen play, The Conspirators, and his own screen play, The Betrayers, wholesale changes were made to Conrad's novel to accommodate the needs of film and market. Characters were deleted and added, as were entire scenes. This article also demonstrates how these screen attempts all shied away from the novel's dark conclusions and altered the protagonist's character. These adaptations were never able to find a film company willing to produce the film. In short, these attempts at adaptation, while cognizant of the strictures of film, nevertheless move too far from Conrad's novel, away from its pessimism and toward a romance far from Conrad's intent.
Journal Article
Seeking German‐Polish Reconciliation through the Heritage Genre: Florian Gallenberger's Der Überläufer (2020)
This essay examines the recent German‐Polish limited series Der Überläufer (2020), a co‐production that shows many of the principal characteristics of German heritage aesthetics. In some regards, it functions as a pastiche of film styles reminiscent of the late 1940s and 1950s: the series employs melodrama to smooth over the differences between past and present, and by juxtaposing the wartime suffering of a German and a Pole, it converts a dark history into an agreeable, entertaining story. Der Überläufer also contributes to the development of an audiovisual language that depicts and recognizes the experiences of both Germans and Poles. This language transforms the focus of the series from trauma toward reconciliation. However, such a change borders on revisionist history since a relationship like the one depicted in the series would have been highly unlikely.
Journal Article
The Logic of Adventure: Marlow's Moral Malady in Lord Jim
What are we to make of Charles Marlow, Joseph Conrad’s alter ego, in Lord Jim, the modernist novel published at the height of Britannia’s rule of the waves? In Heart of Darkness, Marlow is sensitive to the suffering of the colonised and deeply critical of the colonial project, but his narration of Lord Jim betrays casual privilege and enthusiastic complicity in imperial hegemony. I suggest that a more comprehensive understanding of Marlow’s attitude to colonialism can be achieved by reading Heart of Darkness in relation to its two most faithful adaptations, Francis Ford Coppola’s Apocalypse Now and James Brabazon’s The Break Line.
Journal Article
The Cinema Films Back: Colonialism, Alterity and Resistance in Chantal Akerman's La Folie Almayer
This article appraises Chantal Akerman's 'La Folie Almayer', freely adapted from Joseph Conrad, as a creative extension of the source text which both moves beyond and converges with the original in its representation of exile, alterity and flawed cultural and racial encounters. Transcending the geo-political and temporal specificities of the novel and embracing a female perspective, Akerman revisits Conrad's interrogation of colonialism from a personal and contemporary vantage point. By crossing the source with other intertexts and fusing fiction with autobiography, she creates a work that productively decentres and \"creolises\" the original. Akerman's refusal of fixed identitarian models and her opposition to the narrative conventions of mainstream cinema form a cinematic strategy of resistance concomitant with Conrad's critique of the colonial project.
Journal Article
On Michael Fried and Literary Impressionism
Or perhaps literary impressionism describes the attempt to capture in densely descriptive prose the unique settings characteristic of Impressionist canvases, as in the mock-pastoral romance of Maupassants A Day in the Country, which evokes the vulgar suburban gaiety of a Renoir boating party, complete with a drunken dejeuner sur ľherbe and randy canotiers (Renoirs son, Jean, directed a film adaptation of the story in 1936 starring Sylvia Rataille that deliberately pays homage to his fathers paintings). The scholar Jesse Matz, whose work has been influential in defining the term and making it a fruitful subject of critical discussion, writes that literary impressionism \"is still a dominant style of mainstream literary fiction\" and cites Zadie Smith's NW as a work so completely impressionist \"that it might seem to be a throwback.\" The first usage of the term is often credited to the literary critic Ferdinand Brunetiere, who defined literary impressionism in an 1879 review of a novel by Alphonse Daudet as \"a systematic transposition of the means of expression of one art, which is the art of painting, into the domain of another art, which is the art of writing.\" Pound's dictate echoed the more foreboding language of the critic Max Nordau, who felt that the intermixture of the art of the painter and the art of the poet made impressionism in literature the height of fin de siede decadence, \"an example of that atavism which we have noticed as the most distinctive feature in the mental life of degenerates.\"
Journal Article
G. K. Chesterton's Postmodern Anti-Detective Story: Generic Innovation and Transgression in \The White Pillars Murder\
G. K. Chesterton's undervalued story \"The White Pillars Murder\" (1925) anticipates the postmodern anti-detective story in its transgression of the conventions of the Holmes-style analytic detective story and subversively introduces political critique into a genre, the Golden Age country house mystery, widely regarded as either apolitical or conservative.
Journal Article
Conrad's Victory
Basil Macdonald Hastings's dramatization of Joseph Conrad's Victory enjoyed a run of over eighty performances at London's Globe Theatre in 1919 with actor-producer Marie Löhr in the role of Lena. It remains the most successful stage adaptation of Conrad's fiction and Conrad himself was closely involved in the development of the script. This generously illustrated volume presents the complete script of Macdonald Hastings's play, the collected theatre reviews of the production, and the stage censor's confidential report on the script. The volume also features a substantial introduction placing the original novel and its subsequent dramatization in a stimulating critical and cultural context.
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