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Inadaptation.Trulyanadaptation?
FloresNogueiraDiniz
Filmadaptation:stateoftheart
Theprocessofadaptationhasbeenseenasunidirection–goingalwaysfrom
literarytexttofilm–withpriorityfortheformerattheexpenseofthelatter.
Consequently,thestudyofadaptationtendedtoconcentrateonthecomparison
betweentwotypesoftextandthemeasureofsuccessattainedtransferringfromone
theother.Insummary,theconcernofcriticshasbeentoverifythefaithfulnessof
filmcomparedtotheworkoffiction,thatiftis,hefilmmanagestocaptureallthe
elementsofthenarrative:plot,characters,etc.
Thefirstserioustheoreticalworkonadaptationappearedin1957.George
Bluestonedefendedthepossibilityofthemetamorphosisofnovelsintoothermeans,
eachwiththeirnarrativeresources.StudiessuchasthoseofGeoffreyWagnerand
DudleyAndrewfollowed,bothadoptingthecriterionoffaithfulness.Theformer
classifiedadaptationsaccordingtohowclosetheyweretotheliterarytext,
consideringthosewhichwereclosestastranspositions,thosewhichwerenotsoclos
ascommentariesandthosewhichusedtheoriginalonlyasaclueasallegories.
DudleyAndrewclassifiedtheminawaymoreorlessparalleltoWagner’s
terminology,asloans,intersectionsandtransformations,respectively.Asawhole,
theprocesswasseenasatranslation–anintersemiotictranslation–insofarasitwas
meanttotransmitamessage/story/idea,conceivedinagiven–litersystemature–in
termsofanothersignsystem–thecinema.Theanalysisofadaptationconcentratedon
seekingequivalencies,thatis,inthesuccessofthefilmmakerfindingfilmicmeans
substitutetheliterary.Therefore,theybegantolookforfilmicresourceswhich
functionsparalleltothoseoftheliterarywork.However,thishelditsprivileged
position,thetouchstonetoevaluatethefilm.Theyalwayssoughttofind“What
NovelsCandothatFilmsCan’tand-vervicesa”.
Variousapproachesfollowed,allofthemcomparingbothtextsandconsidering
thefaithfulnessofthefilmictexttotheliterarytext.TheoristslikeSeymourCha
KeithCohenandStuartMcDougalmaintainedthebeliefintheinterrelationship
betweencinemaandliteratureandproposedseveralstudiesaboutadaptation,always
seekingtoanalysetheequivalentelementsinbothtextsandprioritising.therefore
criterionoffaithfulness.KeithCohenwasconcernedwithwhathecalledthe
“dynamicsofexchange”,thatis,theoftendencynovelstodevelopcinematographic
resourcesandvice-versa.SeymourChatmanbasedhimselfonBarthes’studieson
narrativetostudythewayinwhichfilmmakersmanagetotransfernarrativefunction
tothecinema.McDougalanalysesthewayinwhichelementsofthenarrative(plot,
characters,pointofview,structure,time,atmosphere,ainnerndoththoughters)are
transferredtothecinema.Inaway,allofthemconsideredfilmadaptationasak
translationandprioritisedthecriterionoffaithfulness.
Becausemostofthescholarsofadaptationweretrainedinliterarycriticism,
criticalreceptionoffilmadaptationswas“plaguedwiththeurgetoaskhowfaith
thefilmversionistotheoriginal”.Recently,criticsfromcinemabegantotakethe
relationbetweenthetwomeansmoreseriously.Thentherewasachangeinthefocus
ofstudiesaboutadaptation,whichnowemphasisesfilmicelements,usingcomparison
toenrichtheevaluationofthefilmandnottheopposite.Criticismisbasedon“
kindofadaptationthefilmproposestobe”andnotnthesuppositionthatereis
onlyonewaytoadaptaliterarywork.Threepeoplestando
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