Adaptation and Intertextuality, or, What Isn't an Adaptation, and What does it Matter?

Leitch, Thomas

doi:10.1002/9781118312032.ch5

Cited by 38 publications

(6 citation statements)

References 7 publications

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“…The features that Metz (1974) stated about the movie being a text were also rewarded. Besides, the film has a multi-dimensional narrative and can carry the transtextuality (Leitch, 2012) between the novel and screen in adaptation, youth, identity, correspondence, and coming out. The retelling of the story remains true to its epistolary form, ensuring accuracy and fidelity and reinforcing its cultural critique.…”

Section: Discussionmentioning

confidence: 99%

“…Further, Corrigan (2012, p. 20) suggested that questions should be asked about adaptation concentrating on the occurrence of recreation, the way characters are affected, relation to themes and ideas in the original text, adaptation differences from the original on cultural and historical approaches, and if there is a change in the form of communication. According to Leitch (2012), adaptations are intermedial, counterexphrases examples of a distinctive mode of transtextuality, quintessential examples of intertextual practice. They are an act of re-vision within themselves, creating a transpositional situation through a transformation from one genre to another and updating the original work in accordance with the new audience, making it more comprehensible for them (Sanders, 2006, pp.…”

Section: The Correspondence Between Film and Adaptationmentioning

confidence: 99%

“…Ayrıca çok boyutlu bir anlatıma sahip olan film, uyarlama, gençlik, kimlik, yazışma ve ortaya çıkış açısından roman ve ekran arasındaki metinler arasılığı (Leitch, 2012)…”

Section: Geni̇şleti̇lmi̇ş öZetunclassified

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Textual and Visual Correspondence Between the Novel and the Film: The Epistolary Narrative of Love, Simon

Çalışkan

2022

Selçuk İletişim

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Love, Simon (2018) is an American comedy-drama film directed by Greg Berlanti and based on Becky Albertalli's novel Simon vs. the Homo Sapiens Agenda (2015) about the email correspondence between Simon and another male student from his high school. Digital correspondence and Simon's voiceovers form the backbone of the storytelling. Comparing the book and the film, with a particular focus on the written form of communication and the narrator's inner voice, one can observe differences between the textual and visual forms, especially when considering the narrative line. This paper examines how the novel as a text centered on digital correspondence is transformed in the film adaptation. The paper aims to reveal how the role of the narrator changes from novel to film in the context of Plato's mimesis and diegesis. The similarities and differences between the use of text through the narrative line are analyzed within the scope of adaptation theory and poststructuralist textual analysis, and the transformation of mimetic and diegetic epistolary storytelling into diegetic and non-diegetic speeches, sounds and visuals in the film universe. As a result, it has been revealed that the film has mega-textual features in the context of adaptation and correspondence, that it has been adapted to the film without losing the characteristics of the story through intertextuality, that it stands at a point of transmission, that it successfully visualizes the anonymity in correspondence, and that it carries the plot and the identity of the characters to the visual dimension.

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Section: Discussionmentioning

confidence: 99%

Section: The Correspondence Between Film and Adaptationmentioning

confidence: 99%

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Textual and Visual Correspondence Between the Novel and the Film: The Epistolary Narrative of Love, Simon

Çalışkan

2022

Selçuk İletişim

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“…What is important in her analysis are the ways in which these texts signal their 'second degree' status and invite comparison with their source as a component of their creative value. This usefully distinguishes adaptation from facsimile, duplication, and plagiarism (Leitch 2012). It also potentially distinguishes Hutcheon's 'adaptation proper' from 'paratextual adaptations', which transpose other 'second degree' texts into new forms and formats (Sherry 2012, p. 375).…”

Section: Videogames As Adaptationsmentioning

confidence: 99%

The Art of Adaptation in Film and Video Games

2022

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Cover image courtesy of Christian Thomas © 2022 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications.The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND.

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“…However, to this day, this shared framework has not yet been found. In fact, the lack of even an agreed definition of basic concepts such as adaptation and appropriation (Leitch 2008: 72) or the multiplicity of existing models, which can sometimes be contradictory (Leitch 2012), have held back the state of the question, so that the search for a shared and multimodal theoretical framework continues to be one of the major challenges for scholars in this academic field in the twenty-first century.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

Characterisation and Theatricality in King Lear of the Steppes: The Rewriting of the Shakespearean Classic

Bellmunt-Serrano

2021

Studia Anglica Posnaniensia

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This paper provides an in-depth analysis of the rewriting of King Lear, the Shakespearean classic, as it appears in Ivan Turgenev’s novella King Lear of the Steppes, published in 1870. In order to study this case of appropriation in Russian literature, which was received with skepticism by many of his contemporaries and forgotten for a long time, the focus is placed on two fundamental aspects: characterisation and theatricality. These two features connect Turgenev’s work with the source text and exemplify how adaptation and appropriation function within target cultural systems. Far from being a mere literary experiment, the appropriation of some of Shakespeare’s characters in Turgenev’s works and their use as literary archetypes was based on ideological reasons that would influence the evolution of nineteenth-century Russian thought. The present research highlights the importance of processes of rewriting, such as adaptation and appropriation, for the development of target cultural systems and, in order to do so, the perspective of adaptation studies is adopted.

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Adaptation and Intertextuality, or, What Isn't an Adaptation, and What does it Matter?

Cited by 38 publications

References 7 publications

Textual and Visual Correspondence Between the Novel and the Film: The Epistolary Narrative of Love, Simon

Textual and Visual Correspondence Between the Novel and the Film: The Epistolary Narrative of Love, Simon

The Art of Adaptation in Film and Video Games

Characterisation and Theatricality in King Lear of the Steppes: The Rewriting of the Shakespearean Classic

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