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List of Readings and Corresponding Authors with Notes

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List of Readings and Corresponding Authors with Notes

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List of readings - Study Guide for Lit into Film

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Taking an idea from one media and bringing it into another. Changing it only when it needs to be changed to fit the other media.

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Layering of text. Adaptations that build on one another, with diverse layers and depth rather than the simple original text -> movie adaptation formula. One example of this is Sherlock where the creators reference many different adaptations of Sherlock Holmes to build a new story.

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1. There is no such thing as contemporary adaptation theory
2. Differences between literary and cinematic texts are rooted in essential properties of their respective media
3. Literary texts are verbal, films visual
4. Novels are better than films
5. Novels deal in concepts, films in percepts
6. Novels create more complex characters than movies because they offer more immediate and complex access to characters psychological states
7. Cinema's visual specifications usurps its audience imagination
8. Fidelity is the most appropriate criterion to use in analyzing adaptations
9. Source texts are more original than adaptations
10. Adaptations are adapting exactly one text apiece
11. Adaptations are intertexts, their precursor text simply text.
12. Adaptation study is a marginal enterprise.

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15 points of Mise-en-scene
-Dominant
Where does the camera want you to look? The dominant can be defined by size, focus, lighting, and color
-Lighting Key
Is the lighting high key (bright even lights with little shadows) low key (diffused shadows and small pools of light) or high contrast (harsh shifts of light and streaks of blackness)?
-Shot and camera proxemics
What type of shot is it? Extreme long shot, long shot, full shot, medium shot, close up, or an extreme close up?
-Camera angle
What is the angle of the camera? Bird's eye, high angle, eye level, low angle, and oblique angle
-Color values
What is the dominant color? is there conrasts or symbolism?
-Lens/Filter/Stocks
What lens is the shot viewed through? A telephoto lens, wide angle lens, fast film stock, or slow film stock?
-Subsidiary Codominant
What are the other main objects in the shot besides the codominant?
-Density
How much visual information is in the shot? Is the texture stark, moderate, or highly detailed?
-Composition
How is the two-dimensional space segmented and organized? What is the underlying design? Horizontal? Vertical?
-Form
Is the form open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? Or a proscenium arch, in which the visual elements are carefully arranged and held in balance?
-Framing
Is the framing tight or loose? Do the character have no room to move around, or can they move freely without impediments?
-Depth of Field
On how many planes is the image composed (how many are in focus)? Does the background or foreground comment in any way on the mid-ground?Deep-focus shots allow all planes to be in focus at the same time. More commonly, only one or two frames are in focus.
-Character Placement
What part of the framed space do the characters occupy? Center? Top? Bottom? Edges? Why?
-Staging positions
Which way do the characters look on the screen?
-Character Proxemics
How much space is there between the characters?

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A parody of style. A nostalgic re-imagining of a lost era, or a neutral imitation.

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Concerning the relation between a first "hypotext" and a second, "hypertext" in some way derived from the first.

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The features assigning a text to a genre.

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The commentary by one text on another.

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Titles, prefaces, interviews, reviews.

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Quotation, plagiarism and allusion.

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Using the readings, answer four of the available prompts. Need to be connected to the course content, with appropriate examples, and original analyses and interpretations.
Possible essay topics:

What are the politics of children's adaptations?

What is the difference between an adaptation and an appropriation?

What is intertextuality, and why is it important to understanding adaptations?

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We can state that the concept of intertextuality dramatically blurs the outlines of texts, making them an “illimitable tissue of connections and associations” (Barthes 1981: 39). Of course, it entirely depends on the reader’s sensibility and background knowledge to make all the necessary connections in order to get the most out of a text.
Intertextuality is very important to post-modern adaptations as they draw from many different sources in order to talk about more than the original text did.

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On the other hand, believed in the unstable nature of language and meaning, insisting that all texts have multiple meanings.

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Analyzed texts of all kinds, from works of literature to aspects of everyday communication. These theorists based their analysis on semiology, which is the study of signs, a movement fathered by Saussure.

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An adaptation that has many and multiple different pieces of intertextuality

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Television adaptations are usually longer than film adaptations, and therefore more detailed and complex. There is an emphasis on writing and mise-en-scene in television. Originally, television adaptations were limited in scope because of technology and budget, but as time has gone on, this has become less of an issue. One thing that has stayed the same is how television adaptations fixate on British culture and literature.

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Concerned with the role of the author in the production of meaning, he believed that literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. Authors, therefore, cannot be held responsible for the multiple meanings readers discover within literary texts. Thus, Barthes proclaimed the “death of the Author”, and viewed this situation as a liberation for readers.

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A belief that things have a set of characteristics that make them what they are, and that the task of science and philosophy is their discovery and expression; the doctrine that essence is prior to existence.
Within adaptation, the belief is that an original text has an "essence" that an adaptation needs to capture in order for it to be considered a success.

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The faithfulness of the adapted version of a text to the text it was adapted from. One major aspect of fidelity is the idea of capturing the "essence" of a work, which is difficult to do because that essence is debatable between viewers. Widely (and incorrectly) seen as the firm foundation on which an adaptation is judged. Also, it is impossible to be completely 100% faithful due to the limitations of film (budget, casting, filming, etc.)

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An adaptation in which you do not have to be familiar with an original work to get something out of an adaptation (Name usually Changed)

An example of this is Easy A

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Within the adaptation, changes are made to emphasize social/political/cultural commentary. Adds to the original text.
An example of this would be Bride and Prejudice, because it makes the racial and cultural differences more of an important point of conflict between the characters.

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Definition: a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter.
~Comedy
~Historical
~Horror
~Western
~Musical
~Sci-Fi
~Documentary
~Drama
~Romance
~Mystery
~Zombie
~Apocalypse/Post-Apocalypse
~Children's
~War
~Martial Arts
~Anime
~Animated
~Rom-Com
~Police procedural
~Thriller
~ Fantasy

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Define each term and give an example of each. Should be done within a few sentences.

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A literary work, then, is not simply the product of a single author, but of his/her relationship to other texts (both written and spoken), and to the structure of language itself.
Paratextuality: Something that is one the outskirts of the book. Pictures, chapter titles, etc. Bonus features
Metatextuality: a critical relation between one text and another.
Architextuality: architecture (structure) of a film. Ex. Title can be a way to tell people what type of genre it is. It can also give you an idea about what the film might be about.
Hypertextuality: The relationship between one text to other.
Hypotextuality: Text before the hypertext
Transtextuality:  Everything that sets the text in relationship with other texts, something that covers all aspects of the text. More inclusive than simple intertextuality.

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A work that draws basic themes or characters from another work. Though this is an adaptation of the original, it is a loose version and is more of a stand-alone text.

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A work that draws themes, characters and plot from another work (deemed as the original). This can be text to text, text to film, film to text, or film to film.