Libros

Teoría y práctica de la adaptación fílmica recorre diferentes estudios teóricos –desde los clásicos de André Bazin y George Bluestone, hasta los recientes trabajos de Linda Hutcheon y Robert Stam–, centrándose en ejemplos prácticos de la cinematografía española. El denominador común de los artículos incluidos en este volumen es la aproximación a la adaptación como multiplicación, es decir, como articulación no jerarquizada de una obra. Los ensayos están ordenados cronológicamente (desde la adaptación de clásicos del Siglo de Oro hasta la transposición a la pantalla de obras actuales) y temáticamente (la memoria, la política, las cuestiones de género…).

El libro no se limita al análisis de la adaptación fílmica de obras literarias, sino que aborda también el estudio de la versión al celuloide o al medio digital de otros textos, como los cómics y los videojuegos. Más allá de la fidelidad como criterio esencial para valorar los contenidos artísticos, cada ensayo analiza las diferencias fundamentales entre la palabra escrita y la imagen visual, y reflexiona sobre las implicaciones ideológicas de dichas adaptaciones.

El trabajo ha sido coordinado y editado por Barbara Zecchi, profesora titular de Filmología y Estudios de Género de la Universidad de Massachusetts Amherst. En él colaboran destacados especialistas de distintas universidades norteamericanas y españolas.

Description

In recent years adaptation studies has established itself as a discipline in its own right, separate from translation studies. The bulk of its activity to date has been restricted to literature and film departments, focussing on questions of textual transfer and adaptation of text to film. It is however, much more interdisciplinary, and is not simply a case of transferring content from one medium to another. This collection furthers the research into exactly what the act of adaptation involves and whether it differs from other acts of textual rewriting.

In addition, the ‘cultural turn’ in translation studies has prompted many scholars to consider adaptation as a form of inter-semiotic translation. But what does this mean, and how can we best theorize it? What are the semiotic systems that underlie translation and adaptation? Containing theoretical chapters and personal accounts of actual adaptions and translations, this is an original contribution to translation and adaptation studies which will appeal to researchers and graduate students.
Table of Contents

Contributors Preface Piotr Kuhiwczak Acknowledgments Introduction: Identifying Common Ground Laurence Raw 1. Adaptation and Appropriation: Is there a Limit? Hugo Vandal-Sirois and Georges L. Bastin 2. Translation and Adaptation – Two Sides of an Ideological Coin Katja Krebs 3. The Authenticity in “Adaptation”: A Theoretical Perspective from Translation Studies Cynthia Tsui 4. Translation and Rewriting: Don’t Translators ‘Adapt’, When They ‘Translate’? Joao Azenha and Marcelo Moreira 5. Adapting, Translating, and Transforming: Cultural Mediation in Ping Chong’s Deshima and Pojagi Tanfer Emin Tunç 6.Shakespeare’s Christian Dimension in China’s Theatre – to Translate, or Not to Translate?Jenny Wong 7.“Tradaptation” Dans le Sens Québécois: A Word for the Future Susan Knutson 8. rWaltz with Bashir as a Case of Multidimensional Translation Ayelet Kohn and Rachel Weissbrod 9. The Paradoxes of Textual Fidelity: Translation and Intertitles in Victor Sjöström’s Silent Film Adaptation of Henrik Ibsen’s Terje Vigen Eirik Frisvold Hanssen and Anna Sofia Rossholm 11. Les Liaisons Dangeureuses à l’anglais: examining traces of 'European-ness' in Cruel Intentions, Dangerous Liaisons, and Valmont Sarah Artt 11. Turnips or Sweet Potatoes Kate Eaton 12. The Mind’s Ear: Imagination, Emotions and Ideas in the Intersemiotic Transposition of Housman’s Poetry to Song Mike Ingham 13. Cultural Adaptation and Translation: Some Thoughts about Chinese students Studying in a British University Ruth Cherrington Bibliography Index

Whenever they see a Merchant-Ivory name, they [the audience] go with the expectation that this will be something interesting, exciting, entertaining, and they are satisfied with that." –Ismail Merchant

Merchant-Ivory: Interviews gathers together for the first time interviews made over the past five decades with director James Ivory (b. 1928), producer Ismail Merchant (1936-2105), and screenwriter Ruth Prawer Jhabvala (b. 1927). Beginning with their earliest work in India and ending with James Ivory's last film, The City of Your Final Destination (2009), the book traces their careers together, while offering valuable insights into their creative filmmaking process. The volume serves as a corrective to the prevailing critical orthodoxy attached to Merchant-Ivory's work, which tends to regard them as being solely concerned with historically accurate costumes and settings. As independent filmmakers, they have developed an idiosyncratic approach that resists facile classification.

This book shows how Merchant-Ivory have always taken considerable care in casting their films, as well as treating actors with respect. This is a deliberate policy, designed to bring out one of the triumvirate's principal thematic concerns–the impact of the "clash of cultures" on individuals. Partly this has been inspired by their collective experiences of living and working in different cultures. They do not offer any answers to this issue; rather they believe that their task is simply to raise awareness, to make filmgoers conscious of the importance of cultural sensitivities that assume paramount significance in any exchange, whether verbal or nonverbal.

Laurence Raw, Ankara, Turkey, is professor of English at Başkent University. He is author of several books, including Adapting Henry James: Gender, Fiction, and Film; The Ridley Scott Encyclopedia; and Impressions of the Turkish Stage.

About the Book
This biographical dictionary presents a stellar lineup of talented, versatile character actors who regularly appeared in horror and science fiction films during Hollywood’s golden age. Many are well known by genre buffs and casual fans–they include Lionel Atwill, John Carradine, Dwight Frye, Rondo Hatton, Dick Miller, J. Carroll Naish, Maria Ouspenskaya, Glenn Strange, Edward Van Sloan, and George Zucco. Some are perhaps not so well known but equally at home in the horror and science fiction films–such as Anthony Carbone, Harry Cording, Rosemary La Planche, Dick Purcell, Elizabeth Russell and Mel Welles.

The 96 entries are complete with a biography and in-depth analyses of the actor’s best performances–demonstrating how important these personalities were to the success of their genre films.

About the Author
Laurence Raw has published extensively in the field of film adaptations and performance. He teaches in the Department of English at Baskent University, Ankara, Turkey.