| CODE | ATS5102 | ||||||||||||
| TITLE | Film Adaptation, the Literary Tradition and the Other Arts | ||||||||||||
| UM LEVEL | 05 - Postgraduate Modular Diploma or Degree Course | ||||||||||||
| MQF LEVEL | 7 | ||||||||||||
| ECTS CREDITS | 5 | ||||||||||||
| DEPARTMENT | Faculty of Arts | ||||||||||||
| DESCRIPTION | The first part of this study-unit is dedicated to the ongoing debate on theories of film adaptation with special emphasis on such central issues as (in) fidelity, intertextuality, refraction, horizontality as opposed to verticality, and pastiche. These crucial concepts will be analyzed through an assessment of the film adaptation theories of André Bazin, George Bluestone, Brian Mc Farlane, James Naremore, Kamilla Elliott, Robert Stam, Linda Hutcheon, Julie Sanders, Deborah Cartmell, Imelda Whelehan, Thomas Leitch, David L. Kranz and Jack Boozer, among others. We will then proceed to analyze the postmodern strategies devised by various filmmakers in their (a) reconceptual spatialization of Greek Tragedy (eg. Pasolini’s Edipo Re), (b) digital revisioning of Shakespearean theatre (eg. Greenaway’s Prospero’s Books, Taymor’s Titus), (c) ‘medieval’ reworking of Romantic texts like Bronte’s Wuthering Heights (eg. Yoshida’s Arashigaoka) and (d) appropriation of the fem/ Strugatsky science fiction wasteland (eg. Tarkovsky’s Solaris/ Stalker), (e) the appropriation of Jane Austen and the 'Austenmania,' and the human mutability of the cybernetic/ alien posthuman Vision of Philip K. Dick and Jack Finney (eg. Scott’s Blade Runner and Siegel’s Invasion of the Body Snatchers). Finally the concept of adaptation will also be opened up to include the relationship between the cinema and various other art forms by analyzing the filmic appropriation of painting (eg. Antonioni’s Il Deserto rosso, Tarkovsky’s Andrei Rublev, Jarman’s Caravaggio, Scorsese's The Age of Innocence), and comic books/ graphic novels (eg. Synder’s 300, Burton’s Batman, Mendes’ Road to Perdition, Rodriguez’s Sin City, Mc Teigue’s V For Vendetta, Slade’s 30 Days of Night, Lee’s Hulk). Within this context questions related to the (un)filmability of poetry (eg. The Keatsian evocations of Hitchcock’s Vertigo and the Brontëan intimations of Jackson’s Heavenly Creatures) as well as the (un)translatability of self-reflexive metafiction (eg. Reisz’s The French Lieutenant’s Woman) will be particularly germane. Main Texts: James Naremore, Film Adaptation (Rutgers University Press, 2000) Sarah Cardwell, Adaptation Revisited. Television and the Classic Novel (Manchester University Press, 2002) Kamilla Elliott, Rethinking the Novel/Film Debate (Cambridge University Press, 2003) Robert Stam, Literature and Film. A Guide to the Theory and Practice of Film Adaptation (Blackwell Publishers, 2004) Jack Boozer, Authorship in Film Adapation (University of Texas Press, 2008) Colin Maccabe (ed.), True to the Spirit and the Question of Fidelity (Oxford University Press, 2012) Supplementary Reading Pascal Nicklas and Oliver Lindner (eds.) Adaptation and Cultural Appropriation. Vol. 27. Literature, Film and the Arts (Walter de Gruyter, 2012) Note: A comprehensive study pack will be prepared for students at the start of the study-unit. |
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| STUDY-UNIT TYPE | Lecture and Seminar | ||||||||||||
| METHOD OF ASSESSMENT |
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| LECTURER/S | Glen Bonnici Saviour Catania Fabrizio Foni Gloria Lauri Lucente (Co-ord.) Marilyn Mallia Charlo Pisani |
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The University makes every effort to ensure that the published Courses Plans, Programmes of Study and Study-Unit information are complete and up-to-date at the time of publication. The University reserves the right to make changes in case errors are detected after publication.
The availability of optional units may be subject to timetabling constraints. Units not attracting a sufficient number of registrations may be withdrawn without notice. It should be noted that all the information in the description above applies to study-units available during the academic year 2023/4. It may be subject to change in subsequent years. |
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