Suchergebnisse

1. What are you working on? : the expanding role of the author in an era of cross-media adaptation -- 2. World rights : literary agents as brokers in the contemporary mediasphere -- 3. Making words go further : book fairs, screen festivals and writers' weeks as engine rooms of adaptation -- 4. The novel beyond the book : literary prize-winners on screen -- 5 Best adapted screenwriter? : the intermedial figure of the screenwriter in the contemporary adaptation industry -- 6. Cultivating the reader : producer and distributor strategies for converting readers in audiences.

It has been widely acknowledged that translation played an important role in the process of colonization. Colonizers often used it to reinforce their hegemony over the colonized who, in turn, employed it to encourage either submission to or resistance of that hegemony. Focusing on Vajiravudh's translation, or more precisely adaptation, of Edgar Allan Poe's "The Murders in the Rue Morgue," this article illustrates how the story reflects not only the desire to be civilized like Westerners but also the strategies that the Siamese elite employed in order to achieve the trappings of civilization, namely the construction of a primitive Other and the imitation of Europeans. These strategies were, however, inherently problematic. Imitation did not, for example, pave the way towards acceptance but reinforced instead the stereotype of the mimicking natives. The article shows, however, that the Siamese elite were able to use the tactic of adaptation, both literary and otherwise, to navigate through these problems and negotiate their relationship with the West.

The legend of the Pied Piper of Hamelin has inspired numerous literary works around the globe, including Robert Browning's famous poem (1888) and Wilhelm Raabe's The Children of Hamelin (1868). While generally perceived as literature for the young this legend is steeped in a complex relationship between myth and history. By drawing on critical theory, primarily Giorgio Agamben's thoughts on the expulsion of the "wolf man" in Homo Sacer and Friedrich Nietzsche's Dionysus, and taking a closer interpretative look at Browning's and Raabe's literary adaptations in the second half of the nineteenth century this article contextualizes the complex relationship between the legend as myth and its political dimensions of race and insanity, the persecution of outsiders and itinerants.

Abstract
The aim of the paper is to characterize the city of Bratislava after the First World War as a literary space in the short story The Worst Crime in Wilson City (Najhorší zločin vo Wilsonove) and its film adaptation Wilson City (Wilsonov). For millions of Czechs and Slovaks, the US President W. Wilson was a legendary figure. The multi-ethnic city wanted to gratify him and suggested to name itself after him. This short episode of our history was found interesting for a Slovak writer Michal Hvorecký, who set a mysterious (horror) short story in Wilson City (Bratislava). The topos of the city became the basic organizational, or, structural element on which the story is built. In the film adaptation of the Czech director Tomáš Mašín there was a generic shift and the film became a detective comedy, or parody of historical events that happened (or could have happened). The paper focuses on the motif of the city and compares this urban space in the literary and film form. It tries to answer the question whether the city – space is only a backdrop of the story or it becomes its (role)player.

[eng] This thesis examines the sub-genre of the literary biopic and its intersections with literary texts and other film genres through the lens of the melodramatic mode. It explores the dramatization of the 'life-text', defined as the process by which events in the non-discursive space-time become discursive elements in written and film biography, by looking at the figure of the author in a selection of literary biopics from the classical Hollywood era to 2018. The number of studies on the biopic is reduced, but those that have been published so far have not examined the strategies of the melodramatic mode in biographically- inflected films. Since the body and presence of the actor is the cornerstone of the biopic genre, as well as the site for the spectator's investment in the narrative, the embodied authorial figure in biopics becomes a locus of emotional authentication that allows us to identify and decode the forces that are part and parcel of the biopic's and melodrama's semantic force fields, and participate in the metamodernist oscillatory experience between irony and earnestness, belief and disbelief, as the body of the writer on screen both enacts and challenges prevailing theories of authorship. The thesis argues, in short, that film biography must be 'melodramatic' in order to be 'true' – 'truth' being a certain readable, coherently constructed sense of interiority that speaks to what we perceive as reality of the human condition, and which is encoded in the presence and the gestural performances of the actors' bodies on screen, expressed through (melo)dramatic form. The protagonists of melodrama, and, by extension of biographical films, embody and enact socioethical values, showing the work of emotion and personality in social and political processes. The majority of the productions under scrutiny are English-speaking productions, but there are also a small number of international films that have been chosen on account of their relevance to particular sections of this study, for in a globalized cultural economy, individual films tend to build meaningful connections across national and cultural borders and address a variety of audiences. Given its interdisciplinary approach, the critical analysis of the case studies has taken into consideration a varying number of literary, filmic and cultural elements, such as biographical material, earlier or contemporary film adaptations, the director's/scriptwriter's previous work, intermedial elements around the question of stardom. It also examines the intersections of the literary biopic with other film genres, such as heritage or costume drama, as well as the functions of commercial and cultural discourses related to questions of authenticity, which is a central concern in biopics. The thesis is structured into five parts, which explore varying representations of the author. It begins with a series of theoretical and critical considerations of genre and literary biography, followed by a survey of the critical discourses surrounding the literary biopic. The body of the thesis consists of a series of case studies beginning in the 1930s; it continues with an examination of a number of feminist productions from the 1970s, to finally focus on the contemporary period, which has been seen the release of an ever-growing number of literary biopics. The study argues for the literary biopic as an increasingly sophisticated category that has engaged in complex ways with both the figure of the writer and our culture at large. ; [spa] La presente tesis examina el subgénero de la biografía literaria cinematográfica y su intersección con la literatura y con otros géneros cinematográficos, visto desde la perspectiva del modo melodramático. Se investiga la dramatización del 'life-text', definido como el proceso mediante el cual los acontecimientos del espacio-tiempo no discursivo llegan a ser elementos discursivos en la biografía literaria y cinematográfica, por medio de una inspección de la figura del autor en una selección de biografías literarias cinematográficas aparecidas entre la época clásica de Hollywood y el año 2018. Puesto que la figura y la misma presencia del autor son no solo la piedra angular del género biográfico en el cine, sino también el escenario de la implicación del espectador en la narrativa, la figura del autor que se halla plasmada en esta clase de biografía viene a ser un punto de autenticación emocional que nos permite identificar y descodificar las fuerzas que son parte integrante del campo semántico tanto de la biografía cinematográfica como del melodrama, además de capacitarnos para participar en la experiencia metamodernista, que oscila entre la ironía y la seriedad, la convicción y la incredulidad, a medida que la figura del autor en pantalla representa, a la par que pone en duda, las teorías existentes sobre la autoría. Dado el enfoque interdisciplinario de este análisis crítico, se han tenido en cuenta la importancia de elementos de tipo literario, cinematográfico y cultural, como pueden ser el material biográfico, las adaptaciones anteriores o contemporáneas de las películas, el trabajo ya realizado por el director o guionista, y cuestiones relativas al estrellato. Asimismo, se contemplan las intersecciones de la biografía cinematográfica literaria y otros géneros cinematográficos, además de las funciones de los discursos comerciales y culturales relacionados con cuestiones de autenticidad, que es una de las preocupaciones centrales de la biografía cinematográfica. Resumidamente, la tesis pretende presentar la biografía cinematográfica literaria como una categoría que se ha involucrado de maneras complejas con la figura del escritor y con nuestro mundo cultural en general.

The purpose of the article. The article focuses on the process of film adaptation as a transformation of a literary text into a cinematic one. This phenomenon is mostly considered from the point of view of literary studies: the construction of dramatic structure, typology, comparative studies, screenwriter's creativity, etc. However, the role of the director in film adaptation remains beyond the attention of scholars. This study examines the specifics of the film adaptation process in terms of the influence of the director's theme, which is a manifestation of his or her personality.
The methodology. We have used the analysis (of theoretical works on screenwriting and directing, research in the field of art history, psychology, etc.), typology (of structural elements and expressive means), systematization (of directorial techniques for transforming a literary basis into a screen work), observation (of the creative process in cinema), induction (based on practical experience) and modeling of the principles of the director's work.
The results can be used in training programs and practical activities of directors, screenwriters, film critics, art historians, and cultural critics. The paper provides examples on the basis of which practical principles are formed that can help in the creation of film adaptations.
The scientific novelty lies in the fact that for the first time a comprehensive analysis of the transformation of a literary work into a screen work from the perspective of a director, its comprehension and systematization of directorial techniques in the process of film adaptation will be carried out.