Archive for 2018

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

Fri Nov 02 14:31:38 GMT 2018

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 >>



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.


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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