جستجوی مقالات مرتبط با کلیدواژه « Cinematic Adaptation » در نشریات گروه « علوم انسانی »

The tale of Eskandar in Shahnameh is one of the most dramatic tales regarding the life of Eskandar.  It is very significant in terms of two qualitative elements in drama namely conflicts and dramatic scenes which are quite exceptional in contrast with other elements.  The purpose of this article is to answer the main question that what potential and variety these two elements offer for adaptation using descriptive analytic method as well as referring to the classification in the book of recognizing elements of drama.  The results obtained demonstrate that conflicts in the tale are highly varied that is based on the nature of opposing elements such as conflicts in an antisocial society, man versus man, man versus nature, man versus society, man versus his own self, and also based on the nature of conflict is of a kind associated with dynamism.  The battle scenes with the Persians, marriage with Roshanak, the death of Dara, and his burial rites are regarded as dramatic scenes of this narrative which makes it an ideal case for adaptation.

The present study intends to make a comparative study between a literary work and a cinematic production concerning the function of cinematic translation as an intertextual practice. Accordingly, three intertextual relations have been introduced including “repetition”, “creation” and “omission” .After introducing each of these relations, different kinds of repetition and creation in cinematic translation have been discussed in detail along with examples mainly from two adaptations of the movies “The cow” and “The pear tree”. In this article and in the process of introducing intertextual relations, the authors have attempted to take into consideration the ways on the basis of which a cinematic meta-text is culturally marked. The classification of intertextual relations in adaptation has been carried out based on Fairclough’s approach towards the text (1995). Fairclough defines text as “partly repetition” and “partly creation”. On the other hand, while introducing Jakobson’s categories of translation, the study introduces cinematic adaptation as a type of inter-semiotic translation.

A major part of adaptation studies, as an interdisciplinary branch, is devoted to the process of transmitting the written fiction such as novels and short stories to the visual medium of film.  Experts of cinema and literature have spoken about the quality of cinematic adaptation, suitable works for adaptation, types of adaptation, their quality, etc.; Sabouraud has argued that a correct understanding of the style of the original work and the use of cinematic tools to turn the fiction into a film are necessary for successful adaptation, and twentieth-century critics have emphasized the preservation and transmission of the "spirit of literary work" in the adaptation process. In this research, by looking at the theories of adaptation studies, in a descriptive-analytical method, the quality of adaptation in two films adapted from the short story of The People’s Child written by Al-Ahmad has been analyzed. The results show that in the film called A Beautiful Snowy Day, despite being more faithful to the events of the origin story, the choice of melodrama genre is contrary to the realist style of Al-Ahmad story, he has caused the spirit of the work not to be transferred, but in the short film entitled Before Darkness, despite the significant differences, in the plot, characters, time and place, etc. with the original story, the filmmaker adherences to the story style and the use of appropriate cinematic tools have reflected the spirit of the work well.

This comparative study examines the relationship between the dominant discourses of the filmic adaptation of Shakespeare's Macbeth in the 21st century. In Scotland, PA (2001) directed by Billy Morrissette, the effect of the dominant discourses of 1970s are examined to demonstrate the ways in which the powerful economically repress the poor in the American society. A close analysis of the social, historical and cultural contexts in this adaptation shows the ways in which cinematic adaptations of literary works are influenced by their social and cultural contexts. In other words, Morrissette has created a new work of art by recreating the seventeenth century Shakespearean play within the context of modern time discourses. The theoretical framework of this study is based on Linda Hutcheon's theory of adaptation and Robert Stam’s model of intertextual dialogism. The paper shows how in today's world, power-seeking, discrimination and inequality persist and how the powerful draw on new and more complicated practices to continue their exploitation of the downtrodden.

Structuralism means the study of the interrelationships between the components of an object or subject. Narratology as a gift of structuralism; It is one of the most important theoretical areas. Many structuralist scholars have tried to provide basic rulings on the various narratives so that they can fit all narratives into a particular format. Algeria  Julien  Grimas With the publication of his book, Structural Semantics (1966) he tried to achieve the general grammar of the narrative language by presenting the pattern of action and chains of narrative and to analyze each narrative with its narrative structure. The aim of this study was to identify and study the change of narrative line from source to adaptation and to study the narrative processes of conversion of source to adaptation as well as theory. Grimas suggested that the general classification governing all narratives should consist of only six roles or commonalities in three two way    confrontations. These categories are: subject / object, giver / receiver, helper / adversary. In Iranian cinema, the Pary film  (1995) is based on the novel Porridge Vesuvii and the short story "A Good Day for  the FishFish" by Jerome David Salinger.
 
2.The research is done in six stages. In the first stage, gathering library information, completing theoretical foundations, reviewing the research background, studying the adapted literary works, studying the adapted screenplay and watching the selected film are done. Then a comparative study of the narrative components obtained in the source and the adaptation effect is performed. In the next step, the narrative techniques used by the filmmaker in changing the narrative line of the story to the film are studied. (Output of this step: tables of classification of narrative elements of the source (story text) and adaptation effect (film) to classify and facilitate comparative study between the two) and finally information analysis and conclusion is done.
 
3.Structuralism is a method that systematically studies phenomena in the field of humanities. Grimas, considering Saussure's system of confrontation, believed that all narratives could be adapted to a system of common signs.
Mehrjoui in the cinematic translation of films from adapted sources of processes such as changing the text-to-film narrative system, deleting, adding, reducing, expanding, repeating, generalizing, highlighting, replacing images, interfering, thematic diversity, changing crisis and story climaxes, changing In the nature of the characters, change in the beginning and end of the story, change in the social position of the characters and objects is used.
The present study, in parallel with studying the changes in the narrative line from source to adaptation, also studies these changes.
 
4.The present study was conducted to study the process of adaptation in two selected works of Dariush Mehrjoui based on Grimas's narrative model (syntactic rule and active patterns). Comparative study of how the narrative line is adapted and the study of narrative processes in converting the source into an adapted work were among the issues that the researcher sought to find answers to in the study of the adaptation process.
The questions raised in this research are: 1) What changes has the narrative line of the story from the source to the adaptation effect during the adaptation?  2) What narrative processes has the filmmaker used in converting the narrative line of the text of the story into a screenplay?
In answer to these questions, it must be said that the structural pattern of Grimas actor is a good pattern for examining stories. In order to complete the studies, and since the statistical population is in addition to the story (writing system), there is also a film (visual system), the episodes obtained from the stories, which are logically classified according to structuralist patterns, can be the focus of technical study.
The first finding of the research is that the narrative line in the film has not changed much compared to the sources. A more accurate explanation is that in the middle episodes, the similarity in the narrative line of the episodes between the source and the adapted work is close to eighty percent 80%. This is while the two initial and final episodes show a zero matching percentage. This means that the filmmaker has added two episodes and in the other cases, with a percentage of nearly eighty, has moved in line with the narrative line of the source. However, and given the debatable point that artistic adaptation should be seen and studied as a whole in the realm of literary art criticism, attention to the details of the change and transformation from source to adaptation in orded to emphasize the process. It is an adaptation and does not mean confirmation and emphasis on the method of detailed study in the phenomenon of adaptation.
In response to the second question, narrative processes in source-to-effect adaptation were studied in each episode, and the results were summarized in a table. Among the narrative processes, increase, deletion, and highlighting have the largest share. However, other psychological tricks can also be traced.
Finally, it is necessary to explain that Grimas's activist paradigm was created at a time in Grimas's intellectual life when he emphasized the logic of structuralism. After this period of thought, he conducted newer studies. In future research, these findings should also be studied on stories.
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Cinema always seeking and exploring new and various sources to adapt and creation of films as its final product.  On the other hand, philosophy is more applied as a framework for expression, critic, description, and explanation or value-judgment of cinematic movies. A field on the upstream of cinema allows the researchers to think and philosophizing by a medium or interface named film. Reversely, this paper’s main purpose is to illustrate a path in which cinematographers and particularly scriptwriters used one of the most famous and history-making allegories and anecdotes of philosophy as a theme or motif to plot-creation. The discussion is not related to the prediction of the future by Plato and depicting the cinema in past millenniums. The main issue and question are how philosophy can provide the raw material for cinematic creation? The aim is to show that it is not necessary to make a philosophical film based on the biography of a philosopher or accumulating the dialogs and narrations of the film with philosophical debates and concepts. This paper applies an analytic-comparative method by studying script’s texts through the intermediation of tips and allusions which exist in dialogs and plot to illuminate the manner or quality of adaptation from one of the most famous philosophical allegories. The essay investigates instances from the different cinematic streams, a spectrum from Hollywood mainstream and directors like Peter Weir toward European independent cinema and author film-makers like Bernardo Bertolucci by content interpretation of scripts and introducing this method as a way of adaptation in Iranian experimentalist and independent cinema.

The goal of this research is to determine how to apply the most important psychological theories in the field of Persian myth studies & analysis. This is followed by a case study and qualitative analysis of a screen adaptation of ancient Persian myth “Yosht Farian”, utilizing psychological attitudes. This article intends to answer these questions: What are the most important psychological dimensions of myths? What are the potentials of the adapted screenplay of “Yosht Farian” as a national myth for its audience, filmmakers & scriptwriters, in order to help them for adaptation from a psychological point of view? The methodology of this research is descriptive-analysis while applying library study as well. Collectively, from psychoanalysis view, the content of the myth speaks about human’s inevitable obsessions, and puts the audience in a path to tussle with challenges and gives assistance in overcoming the hardships: and of more importance-is the continuation & revival of national myth by entering into different media formats. Psychological potentials of adapted screenplay of “Yosht Farian” shows that some of the symbols like Animus-pretentious mode of Anima- mask & shadow, which are most indicative features in adaptation, are present in this text.