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Hutcheon, L. (2006) A theory of adaptation London: Routledge Ch. 1: «Beginning to theorize adaptation» pp.

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Literatura I 2011 Cecilia M. de Rennie

Contradictions surrounding film adaptations • Part of Western culture/put down as secondary. inferior • Films as «willfully inferior forms of cognition» vs. high commercial success . derivative.

The appeal of film adaptations • 85% best picture Oscars. • 95% miniseries Emmy .

Appeal for the consumer • Pleasure of «repetition with variation» – Reocognition + surprise – Persistence of theme + material variation – Desire to repeat an act of consumption VER PEDAGOGÍA DEL OPRIMIDO .

Appeal for the producer • Risk avoidance – – – – – – – – – – – Hollywood: popular novels «tried and tested» UK: 18th/19th century novels «tried and trusted» Success in terms of audience Book: 1m Broadway play : 8-10m Film: 60m (Beowolf $200 m when first released) Sequels/prequels Spin-offs Videogame Merchandising (studios buy rights to film and other media) • Franchises profit .

vs. Being seen as an A. . citations.Being an A. barthes) • A work can be theorized as an adaptation only if coonsidered an inherently multilaminated work. • Adaptations = «palimsestuous works» (definition and connotations) – Open relation to source: «second degree text» (G. Genette) • Adaptations as texts: «stereophony of echoes. references» (R.

Fidelity criticism • Focus on degree of proximity to «original» • Morally loaded • Underlying assumption: adapters aim to reproduce the original • Problems with fidelity criticism – Adaptation = repetition without replicatioin – Adaptation have underlying or explicit intentions • Consume the original and erase its memory • Call it into question • Pay tribute by copying .

3 ways of defining adaptation • As a product • As a process of creation • As a process of reception .

biography to fictionalized narrative/drama) .Adaptation as product • Transcoding • «An announced and extensive transposition of a particular work or works» • Shift in – Medium (epic to a novel) – Frame (same story. different point of view) – Ontology (real to fictional.

Adaptation as process of creation • (re) interpretation and (re)creation • 2 perspectives: – Appropriation – Salvaging .

Adaptation as process of reception • Intertextuality • Reception with variation .

its own palimsestic thing) . Therefore An adaptation is a derivation that is not derivative (second without being secondary.3 ways of describing adaptation • An acknowledged transposition of a recognizable other work or works • A creative and an interpretive act of appropriation/salvaging • An extended intertextual engagement with the adapted work.

What is not an adaptation? • Products that come from not wanting a story to end: – Allusions – Plagiarism – Sequel/prequel – Fan fiction • Adaptation comes from wanting to hear a story again .