And the theme of yesterday still lends itself to discussion today, as we will enter into the topic of filmic adaptations (especially of the novels from the XIX). Some cites from the readings.
Salas, Daniel Sánchez. "En otras realidad: "La obra literaria de Clarín, Galdós y Valera en el cine español." La imprenta dinámica: Literatura española en el cine español. Coord. Carlos F. Heredero. Cuadernos de la academia.
"Como hemos visto a lo largo de estas páginas, la historia de una adaptación es la historia de una apropiación. La obra original y su contexto viven una nueva vida tiempo más tarde bajo otra sustancia creativa y una nueva situación."
And from Andrew, Dudley. Concepts in Film Theory. Oxford University Press, 1984. A little theory-heavy, but that's very good for me.
"That tale...bears a transcendent relation to any and all films that adapt it, for it is itself an artistic sign with a given shape and value, if not a finished meaning."
"In the case of those texts explicitly termed adaptations, the cultural model that the cinema represents is already treasured as a representation in another sign system...The broader notion of the process has much in common with interpretation theory..."
"There are modes of relation between the film and the text. These modes can, for convenience, be reduced to three: borrowing, intersection, and fidelity of transformation."
"Filmmaking...is always an event in which a system is used and altered in discourse. Adaptation is a peculiar form of discourse, but not an unthinkable one."
"The job of theory in all this is to keep the questions clear and in order. It will no longer do to let theorists settle things with a priori arguments. We need to study the films themselves as acts of discourse."
No comments:
Post a Comment