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Film Authorship and Adaptation
This chapter contains sections titled:
Adaptation and the Authority of the Auteur
A Jane Campion Film without a Life of its Own
Trademark or Signature?
References
Book Chapter
Adaptation for screenwriters
Edgar and Marland make a strong case for adaptation as the fundamental principle of screenwriting, and offers readers a practical framework for achieving it.
Book
Adaptation for animation : transforming literature frame by frame
\"Talented animation artists often neglect successful storytelling in favour of strong visuals, but now you can have both with this complete guide to adaptation for animation. Veteran independent filmmaker Hannes Rall teaches you how to draw and adapt inspiration from copyright-free materials like fairy tales, myths, and classic literature, making it easier than ever to create your own compelling narrative. Exclusive interviews with world renowned animation historians Giannalberto Bendazzi and John Canemaker introduce to the topic. With sections on subjects like transcultural adaptations, visual poetry and production design, this book is just the right mix of practical advice, lavish illustrations, and industry case studies to give you everything you need to start adapting your story today\"-- Provided by publisher.
Book
Cormac McCarthy and Performance
Cormac McCarthy is renowned as the author of popular and acclaimed novels such as Blood Meridian, All the Pretty Horses, and The Road. Throughout his career, however, McCarthy has also invested deeply in writing for film and theater, an engagement with other forms of storytelling that is often overlooked. He is the author of five screenplays and two plays, and he has been significantly involved with three of the seven film adaptations of his work. In this book, Stacey Peebles offers the first extensive overview of this relatively unknown aspect of McCarthy’s writing life, including the ways in which other artists have interpreted his work for the stage and screen. Drawing on many primary sources in McCarthy’s recently opened archive, as well as interviews, Peebles covers the 1977 televised film The Gardener’s Son; McCarthy’s unpublished screenplays from the 1980s that became the foundation for his Border Trilogy novels and No Country for Old Men; various successful and unsuccessful productions of his two plays; and all seven film adaptations of his work, including John Hillcoat’s The Road (2009) and the Coen brothers’ Oscar-winning No Country for Old Men (2007). Emerging from this narrative is the central importance of tragedy—the rich and varied portrayals of violence and suffering and the human responses to them—in all of McCarthy’s work, but especially his writing for theater and film.
eBook
The Adaptation Industry
Adaptation constitutes the driving force of contemporary culture, with stories adapted across an array of media formats. However, adaptation studies has been concerned almost exclusively with textual analysis, in particular with compare-and-contrast studies of individual novel and film pairings. This has left almost completely unexamined crucial questions of how adaptations come to be made, what are the industries with the greatest stake in making them, and who the decision-makers are in the adaptation process. The Adaptation Industry re-imagines adaptation not as an abstract process, but as a material industry. It presents the adaptation industry as a cultural economy of six interlocking institutions, stakeholders and decision-makers all engaged in the actual business of adapting texts: authors; agents; publishers; book prize committees; scriptwriters; and screen producers and distributors. Through trading in intellectual property rights to cultural works, these six nodal points in the adaptation network are tightly interlinked, with success for one party potentially auguring for success in other spheres. But marked rivalries between these institutional forces also exist, with competition characterizing every aspect of the adaptation process. This book constructs an overdue sociology of contemporary literary adaptation, never losing sight of the material and institutional dimensions of this powerful process.
eBook
Scripting Hitchcock
Scripting Hitchcock explores the collaborative process between Alfred Hitchcock and the screenwriters he hired to write the scripts for three of his greatest films: Psycho, The Birds, and Marnie. Drawing from extensive interviews with the screenwriters and other film technicians who worked for Hitchcock, Walter Raubicheck and Walter Srebnick illustrate how much of the filmmaking process took place not on the set or in front of the camera, but in the adaptation of the sources, the mutual creation of plot and characters by the director and the writers, and the various revisions of the written texts of the films._x000B__x000B_Hitchcock allowed his writers a great deal of creative freedom, which resulted in dynamic screenplays that expanded traditional narrative and defied earlier conventions. Critically examining the question of authorship in film, Raubicheck and Srebnick argue that Hitchcock did establish visual and narrative priorities for his writers, but his role in the writing process was that of an editor. While the writers and their contributions have generally been underappreciated, this study reveals that all the dialogue and much of the narrative structure of the films were the work of screenwriters Jay Presson Allen, Joseph Stefano, and Evan Hunter. The writers also shaped American cultural themes into material specifically for actors such as Janet Leigh, Tippi Hedren, and Tony Perkins. This volume gives due credit to those writers who gave narrative form to Hitchcock's filmic vision.
eBook
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