FICHAMENTO: A THEORY OF ADAPTATION LINDA HUTCHEON PREFACE Xi: not only novels and films; everyone has his/her

r own theory Xii: de-hierarchizing impulse; her method Xii: fidelity; fidelity criticism Xiv: 3 ways we engage with stories Xiv, xv, xvi: division and summary of chapters CHAPTER 1: BEGINNING TO THEORIZE ADAPTATION Virginia Woolf p. 3, 58, 77 Iconophobia x logophilia 4 Repetition with variation 4 Repurposing but new consumers are also created 5 Palimpsestuous works; comparative studies 6 3 meanings of adaptation 7,8 definition of adaptation 8 what is not an adaptation 9 form and content 9 what to adapt? = the spirit, tone, themes, characters, plot, p.o.v.m etc 8-12 the other world (heterocosm) x the space of the mind 14 adaptogenic (Groensteen) 15 adapt. as a product: translation, refomatting, re-mediation, intersemiotic transposition 16 paraphrase 17 biopics and graphic memoirs 17 adaptation as a process cutting, expanding, compressing 19, 20 imitation, Aristotle 20 modes of engagement 22 a 27 (images x words) context of production and reception 28 adaptation as a matter of survival, mutation 31, 32 CHAPTER 2 WHAT? Film 35 City of glass 35 Telling Showing Novel film renovelization 38 Play and film always adaptations - 39 ??? Music in film - 41 Stage musicals, novel into a radio show 41 Stage and screen adaptations indexical and iconic sign 43 Literature symbolic and convenitional signs 43 GNs more easily to adapt to film 43 ??? Sin City, Ghost World She fails to recognize GN as a hybrid form as she does with musical films - 48 Showing showing 46 Plays, TV, cinema, stage musicals, operas, stage ballet TV 47 Operalization 48 Hybrid form: musical films 48 Interacting telling or showing Dice games of pride and prejudice 50 Computer games 50 Theme parks 51

Gerard Genette: form/genre/mode 52 Elements that are adapted 52 CLICH #1: only the telling mode provides intimacy 52 Film exteriority x novel interiority 53 Camera for 1st person narrator 54 p.o.v. 55 p.o.v. from film to videogame 55 CLICH #2: interiority = tellilng x exteriority = showing/interacting Adaptations of Joyce 56, 57 Destroying the clich 58 Close-up to create psychological intimacy 59 Films analogies (alternatives) to subjective elements 59, 60 Music in film and operas 60 The operas alternatives and filmed operas 60 Performance does exteriority better than print media (2nd part of the clich) Destroying he clich Dickens 62 New technologies that do not represent the real exteriority but the workings of the mind 62 CLICH #3: showing and interacting Present X Tellling Past and Future Film: equivalents in flashbacks, flashforwards, dissolves, fade in/out, and time-lapse dissolves for representing stream of consciousness and interior monologues Visual and aural leitmotif represent past through memory 64 Other elements in film 64 In stage, temporal isues are more limited. 65 In opera 65 How to represent the unfolding of time in film, in novels, in GN, TV 66 Videogames based on films 66 CLICH #4: Only telling can express ambiguity, irony, symbols, metaphors, silences, and absences. Representations of the turn of he screw to film, opera 68, 69 Performance media resources 70 Verbal irony: Kubricks Barry Lyndon 71 The example of Billy Budds ambiguity 72 a 77 CHAPTER 3: WHO? WHAT? (ADAPTERS) Who adapt? Adaptations may be a collective process, because there are many adapters 80 In film and TV 81 The role of the screenwriter and the music composer 81 Costume and set designers and actors 81, 82 Film editor 82 Director 82 Creative transposition is subject o genre and medium demands but also to the adapters temperament and talent 84 Film: 1st adaptation: director and screenwriter 2nd adaptation: they adapt from the screenplay 85 Why adapt? Infidelity, betrayal, deformation, violation, vulgarization, desecration 85 What motivates adapters if they know their work will be compared? 86 A) The economic lures: computer games to cash in on the success of certain moveis and vice-versa 86; a safe bet 87 Walter Benjamin on translators 88 Comics are created with the intention of becoming films 88 B) The legal constraints: Is adaptation a copy? Copyright issues 88, 89

parodies 90 re-appropriation with critical purpose 90 Doom, the Sims = legal expanding by users 90 Copyleftmedia 90 C) Cultural Capital: one way to gain respectability is to be upwardly mobile. 91 D) Personal and political motives: a truly artistic adaptation 92 Homages, tributes, critique 93 For social or cultural critique 94 To articulate political positions 94 Individual motivations 94 Learning from Practice 95 The Carmelites of Compige novella, film, stage, play, opera The adaptive process cultures, systems and personal motivations 106 The creative process idea is dated after the intentional fallacy, the death of the author and Foucault 106 The authors intentions are relevant to understand the creative processes of adaptations 106, 107. Creative choices 108 What the audience knows about the creator influence in their interpretation of his/her work. 109 There is no original genius 111 CHAPTER 4: HOW? The pleasures of repetition 114 More popular adaptations are those with familiar linear and realist story-line 115 Videogames adaptations for boys and for girls 115/116 girls create more fan fiction than men 115/116 Intertextual echoing 117 To adapt for a different audience 118 New education industry for children: see the film in order to read the book 118 Licensed products 119 2001: A Space Odyssey novelization 119 censorship of films 11 TV adaptations of literature 120 A knowing audience (if we know the adapted text previsouly) X an unknowng audience 120 When we know, we fill the gaps with info from the adapted text 121 For an adaptation to be succesful, it must be so for both knowing and unknowing audiences 121 Known adaptations set up audiences expectations 121 After experiencing adaptations 121 Novels become derivative works, if we see the film before 122 A masterpiece for Bela Balazs cant be adapted 122 Big fans tend to have the greatest disappointments 123 Autobiographical Poe acc. To Phillipe Lejeune X American Splendor 123 Films are more naturalistic than theater 129 Each mode of engagement requires a different mental action from the audience 130 Different effects acc. To different media 132 Space and time are experienced differently by audiences in the various media and this difference creates new problems for adaptations across media. 132 Reader-response theory: all readers are engaged in the active making of textual meaning 134 McLuhans hot and cool media 135 RPG games 136 Expanded cinema, interactive and hypertext fiction 137 Interactivity allowed X true interactivity 138 Chapter summary 139 CHAPTER 5: WHERE? WHEN? Alterations to national and culural setting, fashion, value sytems 142 An adaptation is always framed in a context 142 Nations, media and time 144-45 Transcultural adaptation: change of language, change of place and time period 145 Hollywood americanizes a work 146

Changes in racial and gender politics 147 Economic, legal issues, evolving technologies, religion 149 Alternatives in performance 150 Acc. To Said, ideas that travel involve 4 elements 150 Susan Stanford Friedmans term indigenization in poliical context: the forming of a national discourse different from the dominant = it implies agency 150 The adapter plug and the electrical converter metaphor 150 Indigenizing can result in strange hybrid works 151 Power colonizer X colonized 152 A modern rereading of the past 152 Learning from Practice: The story of Carmen: a femme fatale or an independent woman? A victim or a victimizer? An orientalized portrait. A marginal figure. Exotic 153-67 3 way to indigenize a story 158 a) historicizing/dehistoricizing b) racializing/deracializing c) embodying/disembodying 3 qualities for high survival of adaptations: a) longevity b) fecundity c) copying-fidelity 157 There must be a recognition of he source-story. This natural selection must involve an identical part and a different part at the same time. 167 It is the same, but it is not. FINAL QUESTIONS: she answered some questions, while raised others, e.g.: What is NOT an adaptation? Short intertextual allusions, bits of sampled music are not 170 Parody in adaptation/ Remakes are always adaptations 170 Not every adaptation is necessarily a remediation 170 Elements of fluidity 171 Fidelity is ideal, but quite impossible in some cases 171 Sequels and prequels, fanzines and slash fiction are not adaptable 171 Is a musem exhibit an adaptation? 172 What is the appeal of adaptation? Adaptations appeal to different audiences, from kids to adults 172 Economy of invention 173 In music, theme and variation are essential 173 Not a copy/ ritual & recognition + surprise and novelty 173 Sameness through alterity 173 Human mimetic faculty 173/74 To repeat without copying 174 Adaptations disrupt elements like priority and authority and destabilize cultural identity and power relations. 174 The appeal cannot be explained by only economic gains. 175 Theories of narrative: there are 2 ways we can explain popularity of adaptations. A) stories are considered forms of representation and vary with period and culture. B) stories are timeless cognitive models by which we make sense of our world and of human action in it. For J Hillis Miller, we need the same stories as a way to assert the basic ideology of our culture 176 Adaptation is not vampiric 176 malign or benign parasites / stories have high or low infective power Stories pass through a culural selection 177 Summary 177 Adaptations are the norm, not the exception - 177