[ecrea] Journal of Adaption in Film & Performance 11.2 is now available

Intellect is happy to announce that the Journal of Adaption in Film & 
Performance 11.2 is now available! For more information about the issue, 
click here >>https://bit.ly/2RtSSuK

*_Articles:_*

*Editorial*

Authors: Richard J. Hand And Márta Minier
Page Start: 123

*Venus in Fur(s) – from the masochist text by Sacher-Masoch (1870) to 
the feminist celebratory adaptations by David Ives and Roman Polanski*

Authors: Paula Talero Álvarez
Page Start: 127

The contemporary versions of the classic text Venus in Furs, written by 
Leopold von Sacher-Masoch in 1870, are a theatre play adapted by the 
playwright David Ives and a film by Roman Polanski released in 2013 that 
deconstruct the original text. From a masochist novel imbued with the 
dominant misogyny of that time, Polanski and David Ives develop a 
detailed study about human sexual identities and offer a new feminist 
reading of the text. The intermedial and intertextual changes applied to 
the novella and the results obtained prove the existence of a completely 
new reinterpretation.

*The Bond identity: Dismantling a franchise in Quantum of Solace*

Authors: Derek Dubois
Page Start: 141

For 55 years, the essence of Bond on film has consistently remained the 
same: British secret-agent with a license to kill, a fondness for 
fast-women and fast-cars, and a penchant for saving the world in a 
clinch. However, the 22nd Bond film, Quantum of Solace (Foster, 2008), 
received mixed reviews upon release with many journalistic critics 
admonishing the film for breaking with the established James Bond 
formula. This article argues that Quantum of Solace’s break with key 
aspects of the James Bond formula stems from the emergence of 
intertextual references outside of the franchise’s hypotext through the 
intermingling of three distinct and un-Bond sources: The Jason Bourne 
franchise, an exploitation genre of female rape-revenge films and Marc 
Foster’s utilization of art cinema tropes.

*The Tyrant’s Heart: Hungarian pseudo-history in a pseudo-Shakespearean 
adaptation*

Authors: Kinga Földváry
Page Start: 153

Miklós Jancsó’s controversial auteur-film The Tyrant’s Heart, or 
Boccaccio in Hungary offers a number of misleading clues as to its 
possible interpretation. While it shows several parallels with 
Shakespeare’s Hamlet, it is hard to interpret it simply as a literary 
adaptation, particularly as the Shakespearean elements are mixed with a 
number of more or less explicit references to other literary works and 
historical personalities. However, placing the film within the 
director’s whole oeuvre, bearing in mind especially Jancsó’s method of 
using pseudo-history to talk about the recent past, the film’s 
references to tyrannical oppression and the lost hopes of the young 
generation hit close to home in the context of communist Hungary.
*
‘What has Christ got to do with it?’: Adaptation theory, Søren 
Kierkegaard and Waiting for Godot*

Authors: Marcos Norris
Page Start: 165

Scholarship in the field of adaptation theory is divided over the issue 
of authorial intent. Comparing Søren Kierkegaard’s reading of Genesis 22 
to Samuel Beckett’s Waiting for Godot, I argue that the structural and 
thematic similarities that mark the two stories as distinctive position 
Waiting for Godot as a parodic retelling of Genesis 22. The audience’s 
adaptive experience is therefore given priority over the announced 
intentions of Beckett, who never intended for the play to be read as an 
adaptation and even warned against readings that present Godot as an 
analogue for God. This article offers a reader-response view of 
adaptation theory, arguing that certain works will be read as 
adaptations under the right interpretive conditions, irrespective of 
their authors’ intentions. What matters, I conclude, is the adaptive 
experience, the interpreter’s recognition that plot similarities and 
differences creatively re-envision the original work of art.

*Yazman Yazid’s Blood and Crown of the Dancer: What a missing film 
adaptation can tell you*

Authors: Dwi Setiawan
Page Start: 183

This article investigates Indonesia’s Darah dan Mahkota Ronggeng (Blood 
and Crown of the Dancer) (Yazid, 1983), a discredited and missing film 
adaptation of Ronggeng Dukuh Paruk (The Dancer of Paruk Village) (1982), 
a commercially successful and critically acclaimed novel. Using textual 
and sociological approaches, this article demonstrates the following: 
how the disappearance of the adaptation can shed light on the cultural 
constructs of Indonesian popular film and adaptation and how the 
surviving screenplay, combined with other secondary sources, can reveal 
the politics of adaptation, society and government in New Order 
Indonesia. The film’s loss reveals the poor infrastructure of Indonesian 
film archiving, the dichotomy of popular and non-popular film 
adaptation, and the neglect of critically and commercially unsuccessful 
film adaptations. The screenplay embodies the depoliticization and 
politicization of critical issues in societal and governmental lives 
such as indigenous religion, traditional women, supra-local crime and 
social discontent.

*The Iris opens/The Iris closes: Le Silence #2 Scene Notes 1–13*

Authors: Emma Bolland
Page Start: 203

This article – and its accompanying script – outline a research project 
that employs methods of expanded screenwriting and expanded translation 
in reworkings of the French impressionist filmmaker Louis Delluc’s 
scenario for his lost film Le Silence (1920). Interrogating the 
possibilities of screenwriting as an inter-medial art and writing 
practice, the material and conceptual space of the screenplay is framed 
via a theoretical framework employing Freudian and Lacanian 
psychoanalysis as a site for the non-linear language of post-traumatic 
narratives. These reworkings of Delluc address two concepts of 
‘treatment’: the ‘treatment’ of screenwriting – preparatory screenplay 
documents that are also a kind of literary proposition – and the 
psychoanalytical treatment, in which the free-associative spoken 
scenarios are subject to an interpretive discourse. Conceptual methods 
are materially manifested via transdisciplinary performance employing 
film-staging that employs an incomplete separation of screen, director, 
and dramaturge; and on exhibition and publishing strategies of 
script-as-image.
*
Orwell’s Animal Farm for the twenty-first century*

Authors: Tom Ue
Page Start: 217

The start of George Orwell’s Animal Farm: A Fairy Story (1945) finds an 
assembly of animals gathered to hear the strange dream that Old Major 
had the night before. The 12-year-old boar prefaces his narrative with a 
polemic against the miserable and toilsome lives that they are living in 
Manor Farm: ‘No animal in England knows the meaning of happiness or 
leisure after he is a year old. No animal in England is free. The life 
of an animal is misery and slavery: that is the plain truth’ (5). Orwell 
traces the resultant revolution, revealing some of its flaws while 
resisting a monocausal reading for its failure. In what follows, I 
discuss this play with its most recent adaptor, Toronto-based theatre 
artist Anthony MacMahon. We examine the novella’s resonance in the 
twenty-first century, and analyse the adaptation’s treatment of, and 
response to, Orwell.

*Reviews*

Authors: Jeanette D’Arcy And  Maria Serena Marchesi
Page Start: 227

  * Radical Revival as Adaptation: Theatre, Politics, Society, Jozefina
    Komporaly (2017)
  * Theatre Translation in Performance, Silvia Bigliazzi, Peter Kofler
    and Paola Ambrosi (eds) (2013)

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