Charlie McDonnell The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation

The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation being the hypertext and the original being the hypotext. A change in medium and genre allows an author to express alternate ideas than those present in Line 3 t

to a larger audience. In many cases during the adaptation process, films oversimplify unique and subversive literary texts ultimately stripping and altering the key meaning of the original text. However, film can be more than merely a “parasite” to literary texts as film adaptations pave way for deeper insight into the contextual factors of the hypotext through comparison, allowing the audience to gain deeper understanding. This apparent contradiction is demonstrated in
the 1958 novella, Breakfast at Tiffany’s by Truman Capote and its film counterpart of 1961, Breakfast at Tiffany’s directed by Blake Edwards. Both the novella and film follow the life and development of call girl Holly Golightly as she seeks belonging and freedom. The Novella is a “victim” to oversimplification of the characterisation of Holiday Golightly and change from the narrator to Paul Varjak. Edward’s adaptation is not purely a “parasite” as it acts as a catalyst
allowing deeper understanding of the meaning intended by Capote

According to Virginia Woolf, film is a “parasite” and literature its “prey” and “victim” due to the

simplification of the literary work that occurs in the adaptation process.

The term adaptation refers to a transformation of a text into a new medium or genre; with the

adaptation being the hypertext and the original being the hypotext. A change in medium and

genre allows an author to express alternate ideas than those present in the hypotext to a larger

audience. In many cases during the adaptation process, films oversimplify unique and

subversive literary texts ultimately stripping and altering the key meaning of the original text.

However, the film can be more than merely a “parasite” to literary texts as film adaptations pave

way for deeper insight into the contextual factors of the hypotext through comparison, allowing

the audience to gain a deeper understanding. This apparent contradiction is demonstrated in

the 1958 novella, Breakfast at Tiffany’s by Truman Capote and its film counterpart of 1961,

Breakfast at Tiffany’s directed by Blake Edwards. Both the novella and film follow the life and

development of call girl Holly Golightly as she seeks belonging and freedom. The Novella is a

“victim” to oversimplification through the characterisation of Holiday Golightly and changes from

the narrator to Paul Varjak. Edward’s adaptation is not purely a “parasite” as it acts as a catalyst

allowing a deeper understanding of the meaning intended by Capote

Blake Edwards romantic comedy contorts the original meaning of Capote’s novella changing

key aspects of Holly’s character to follow and be consistent with the shift in genre and medium.

Capote’s Holly is an independent, idiosyncratic young woman who subverts the societal

expectations of women at the time, a “wild thing” (Capote) whose identity is constantly

changing. During Holly’s first encounter she clearly states “[She will] never get used to anything.

1
Charlie McDonnell The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation being the hypertext and the original being the hypotext. A change in medium and genre allows an author to express alternate ideas than those present in Line 3 t

to a larger audience. In many cases during the adaptation process, films oversimplify unique and subversive literary texts ultimately stripping and altering the key meaning of the original text. However, film can be more than merely a “parasite” to literary texts as film adaptations pave way for deeper insight into the contextual factors of the hypotext through comparison, allowing the audience to gain deeper understanding. This apparent contradiction is demonstrated in
the 1958 novella, Breakfast at Tiffany’s by Truman Capote and its film counterpart of 1961, Breakfast at Tiffany’s directed by Blake Edwards. Both the novella and film follow the life and development of call girl Holly Golightly as she seeks belonging and freedom. The Novella is a “victim” to oversimplification of the characterisation of Holiday Golightly and change from the narrator to Paul Varjak. Edward’s adaptation is not purely a “parasite” as it acts as a catalyst
allowing deeper understanding of the meaning intended by Capote

Anybody that does, they might as well be dead” (Capote 22). Holly’s use of high modality

language “dead” provides insight into her psyche. Holly views stability as equal to giving up her

freedom this individualistic flair is further implied through the metaphor of the unnamed cat. “We

don’t belong to each other: he’s an independent, and so am I. I don't want to own anything until

I’ve found a place where me and things belong together” (Capote 40) The recurring focalisation

of Holly’s lack of belonging enforces the reluctance she holds to being pinned down. However,

the film takes a more acceptable portrayal of Holly removing these layers of independence and

individuality constructed by Capote and instead, creating a conventional 1950’s young women,

in need of a stable centre such as a man. In this way, he aligns her with typical ideas regarding

women in the 1950’s. This transformation is made prominent through dialogue between Holly

and Paul. Upon entering the library Holly questions “what is this place...I don’t see any books''

(Edwards) Holly's distinct bafflement at the library; a place symbolic of knowledge and intellect

characterises her as ignorant and naive, a woman reliant on Paul - a stark contrast to Capote’s

independent, idiosyncratic Holly. Edwards’ depiction aligns more closely to a typical housewife

of the ’50s expected to operate strictly in the private sphere for their husband; this

transformation allows Holly’s character to fit into the romantic comedy genre. It is clear through

the evidence outlined, how aspects of Holly Golightly’s characterisation built up by Capote

depicting a young woman with independent nature and countercultural attitude have been

manipulated by Edwards to follow and be consistent with a populist shift in genre and medium

as well as the social constraints of 1950’s America.

The shift in genre from Capote’s Character Study into Edwards’ romantic comedy drastically

oversimplifies and alters key ideas proposed by Capote surrounding gender and sexuality. The

Hays Code heavily influenced this defining homosexuality to be “explicitly off-limits” (Wasson 95)

on film. These constraints erased Capote’s depiction of sexuality that was considered so unique

in the 1950s. In order to also follow the Hays Code and conventions of the romantic comedy

2
Charlie McDonnell The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation being the hypertext and the original being the hypotext. A change in medium and genre allows an author to express alternate ideas than those present in Line 3 t

to a larger audience. In many cases during the adaptation process, films oversimplify unique and subversive literary texts ultimately stripping and altering the key meaning of the original text. However, film can be more than merely a “parasite” to literary texts as film adaptations pave way for deeper insight into the contextual factors of the hypotext through comparison, allowing the audience to gain deeper understanding. This apparent contradiction is demonstrated in
the 1958 novella, Breakfast at Tiffany’s by Truman Capote and its film counterpart of 1961, Breakfast at Tiffany’s directed by Blake Edwards. Both the novella and film follow the life and development of call girl Holly Golightly as she seeks belonging and freedom. The Novella is a “victim” to oversimplification of the characterisation of Holiday Golightly and change from the narrator to Paul Varjak. Edward’s adaptation is not purely a “parasite” as it acts as a catalyst
allowing deeper understanding of the meaning intended by Capote

genre Capote’s unnamed, assumed homosexual narrator (widely considered to represent

Capote himself), is moulded into Paul Varjak a “red-blooded heterosexual” (Wasson 94).

Furthermore, the plot is oversimplified into a traditional heterosexual narrative of love ending

with Paul and Holly living happily ever after. Capote’s narrator is a reserved and quiet man,

whose interest in Holly is sparked as she rings his bell after misplacing her key. One night she

climbs through his window in order to escape a drunk man, here she refers to the narrator as

“Fred” as he reminds her of her brother. This distinctively defines their relationship as platonic.

The narrator continues to say “it never crossed [his] mind about Holly. You can love somebody

with­out it being like that. You keep them a stranger, a stranger who’s a friend.” (Capote 4) It is

evident the narrator has no sexual attraction to Holly. The audience is provided with a clear

perspective of Holly which is not tainted by sexual attraction. Paul Varjak, in order to clear any

concerns of his sexuality and create an obstacle essential to the romantic comedy genre, is

presented as a gigolo. Most of Holly’s sexual licentiousness present in the novella is omitted

revealing a clear double standard as women were not expected to be openly sexual during the

’50s to ’60s. Paul provides the complete opposite of the perspective built by Capote. In the film,

Holly becomes an object of the male gaze where the audience is invited to identify with Paul’s

view. In the opening scene, Holly exits out of the taxi in a glitzy black dress which contrasts

against the gloomy New York background immediately constructing her as an object to be

gazed upon. This different view of gender and sexuality due to a change in genre and medium

completely twists the original meaning intended by Capote

An adaptation allows deeper insight into the contextual factors of both the original text and the

hypertext as a direct comparison can be drawn. In this case, the subversive nature of the

original text is emphasised. This is especially evident through the denouement. The novella

ends quite vaguely as Holly sends a postcard from Argentina Holly refers to a "duhvine $enor"

The use of a “$” as an S infers money is no longer a problem for Holly freeing her from her

previous lifestyle. The narrator states “But the address, if it ever existed, never was sent, which

3
Charlie McDonnell The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation being the hypertext and the original being the hypotext. A change in medium and genre allows an author to express alternate ideas than those present in Line 3 t

to a larger audience. In many cases during the adaptation process, films oversimplify unique and subversive literary texts ultimately stripping and altering the key meaning of the original text. However, film can be more than merely a “parasite” to literary texts as film adaptations pave way for deeper insight into the contextual factors of the hypotext through comparison, allowing the audience to gain deeper understanding. This apparent contradiction is demonstrated in
the 1958 novella, Breakfast at Tiffany’s by Truman Capote and its film counterpart of 1961, Breakfast at Tiffany’s directed by Blake Edwards. Both the novella and film follow the life and development of call girl Holly Golightly as she seeks belonging and freedom. The Novella is a “victim” to oversimplification of the characterisation of Holiday Golightly and change from the narrator to Paul Varjak. Edward’s adaptation is not purely a “parasite” as it acts as a catalyst
allowing deeper understanding of the meaning intended by Capote

made me sad” The “address” not being sent reinforces Holly’s independence and freedom, the

narrator continues to reflect “mostly, I wanted to tell her about her cat. I had kept my promise; I

had found him.”(Capote) Earlier in the novella, the cat is used as a metaphor for Holly and here

it is extended as a parallel is drawn between them, the cat finding belonging is symbolic of holly

also finding belonging in her freedom. The film provides a typical romantic comedy ending that

aligns with societal values of the 1950s-60s where women are essentially men’s property. The

obstacle of Holly’s lifestyle and Paul's paid relationship with 2E has been overcome. Holly asks

“What? Do you think you own me?” and Paul responds “That’s exactly what I think”. (Edwards)

This exchange of dialogue provides insight to a modern audience, portraying the power

imbalance that was normalised in society during the 50s-60s. Paul considers Holly as his

property. Through the direct comparison of Holly’s freedom in the Novella to her entrapment in

the film, Capote’s counterculturalist and subversive intentions are emphasised.

In Conclusion, The novella Breakfast at Tiffany’s by Truman Capote is in many ways a “victim”

to the “parasite” that is the movie adaption Breakfast at Tiffany’s by Blake Edwards. The

transformation of genre and medium not just resulted in an oversimplification of Capote’s literary

text but altered the meaning and key ideas presented by Capote, this is highlighted through the

character Holly Golightly and the shift in the narrator. However, through comparison, the film can

be seen as a tool allowing for a deeper contextual understanding enhancing Capote’s views on

gender, sexuality and American societal normalities during the 1950s-1960s which remain

relevant in western culture today.

The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation being the hypertext and the original being the hypotext. A ch The ter madapta The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation

being the hypertext and the original being the hypotext. A ch tion refers to a transformation of a text into a new medium or genre; with the adaptation being the hypertext and the original being the hypotext. A change in medium and genre allows an author to express alternate ideas than thosence. In many cases during the adaptation process, filange in medium and genre allows an author to express alternate ideas than thosence. In many cases d

The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation being the hypertext and the original being the hypotext. A ch The ter madapta The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation being the hypertext and the original

4
Charlie McDonnell The term adaptation refers to a transformation of a text into a new medium or genre; with the adaptation being the hypertext and the original being the hypotext. A change in medium and genre allows an author to express alternate ideas than those present in Line 3 t

to a larger audience. In many cases during the adaptation process, films oversimplify unique and subversive literary texts ultimately stripping and altering the key meaning of the original text. However, film can be more than merely a “parasite” to literary texts as film adaptations pave way for deeper insight into the contextual factors of the hypotext through comparison, allowing the audience to gain deeper understanding. This apparent contradiction is demonstrated in
the 1958 novella, Breakfast at Tiffany’s by Truman Capote and its film counterpart of 1961, Breakfast at Tiffany’s directed by Blake Edwards. Both the novella and film follow the life and development of call girl Holly Golightly as she seeks belonging and freedom. The Novella is a “victim” to oversimplification of the characterisation of Holiday Golightly and change from the narrator to Paul Varjak. Edward’s adaptation is not purely a “parasite” as it acts as a catalyst
allowing deeper understanding of the meaning intended by Capote

Works Cited:

Capote, Truman. Breakfast at Tiffany’s. London, Penguin, 2000.

Edwards, Blake, director. Breakfast at Tiffany’s. Paramount Pictures, 1961.

Wasson, Sam. Fifth Avenue 5 A.M.: Audrey Hepburn, Breakfast at Tiffany’s, and the Dawn of

the Modern Women, Harper Collins, 2011.