“Adaptation, Intertextuality, and Fidelity” examines why we continue to tell the same stories by focusing on the texts and adaptations of Robinson Crusoe (1719), Jane Eyre (1847),andFrankenstein (1818). The time is ripe for a re-evaluation of this creative mode from the perspective of our cognate disciplines. Then in keeping with the theme of the film and novel, intertextuality is again used by having Celie read from Oliver Twist and change from child to woman. So, a poet adhering to the form of writing a sonnet employs intertextuality. Intertextuality is the literal feeling that we get from our familiarity with an adaptation’s source material. The recent installment in the film adaptation of this fictional character had been by filmmaker Dibakar Banerjee in his 2015 film Detective Byomkesh Baksy! Now I think I will. However, adaptations look at the story as a whole. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. And notice what she reads as this occurs. Return to Figure. However, adaptations look at the story as a whole. Download Citation | Postmodern adaptation: Pastiche, intertextuality and re-functioning | Average film-goers probably take more notice of a film’s stars than of its director. This "replacement" deviates from traditional ideas about film adaptation in three main aspects: firstly, reproduction of the original source is given as much importance as transformation and interpretation; secondly, the cultural context in which adaptation originates (including the strategies of adaptation active in that system) is taken into account; and lastly, the intertextual network is widened in order to include not only previous film … Similarly, Nettie drops a copy of Oliver Twist which is a novel which tells of a ill-treated boy who eventually escapes; which foreshadows what happens to Celie eventually and Nettie as well who runs away from her attacker. As the text states, adaptation is a form of intertextuality. I feel that intertextuality differentiates with adaptation because it just deals with the text only. The difference between the two is that adaptation is taking a book’s plot and using the same characters and ideas to create a movie or film. She reads: “Oliver was the victim of a systematic course of treachery and deception.” And this speaks to her situation as well. Nicole, This comment is too late. I think intertextuality is more about crossovers between different works. Change ), You are commenting using your Google account. Ekphrasis and Adaptation Claus Clüver Intertextuality is also often a mod podge of many different existing stories and plot lines and an adaptation is usually based only on one. POMP(OUS) SIRK-UMSTANCE: INTERTEXTUALITY, ADAPTATION, AND ALL THAT HEAVEN ALLOWS WALTER C. METZ In "The Melodramatic Field: An Investi gation," Christine Gledhill exposes the problems that result because film scholars attend to melodrama only after privileging Douglas Sirk as a modernist, Brechtian auteur capable of transforming the lachry This can come in many forms, with one of those forms being an adaptation. Intertextuality involves references from other works that may not play a large part in the main story. Perhaps stories, narrative, and by extension, adaptations are not linear devices composed of characters, actions, and themes but a chain of intersecting narratives that cyclically recur – stories as intersecting smaller stories. Hope you spent the weekend making headway on the novel. Adaptation refers to the retelling of different works that come to together to make a story. Although it relates to movies in these cases, the device is as old as storytelling itself. Intertextuality is the inclusion of different texts in a work, but an adaptation is the remaking of an original text. Intertextuality is a way in which we can perceive adaptations. I think that intertextuality is the use of a text to create an image, to make you think of something else, or to give you the feeling you felt during a separate occurrence with said text. University of Delaware, USA. An adaptation is meant to tell roughly the same story and meaning while intertextuality presents a new perspective of the story and likely a different meaning. In fact, the form that a film/poem/song assumes is intertextuality. Intertextuality can be shown through allusions, quotations, and objects in a piece of work or text. Intertextuality plays an important role in films and other works of art because it allows information/knowledge, ideas etc. Using intertextuality as a literary device is a way for authors/creators/etc to influence the audience and bring them to think a certain way about an event or character due to what it is being compared to. Intertextuality is present in most modern day films and has reference to some of the classic literature. More specifically, it is one work interacting with an aspect from another, similar to an allusion, adding more meaning to events with the connection to other known media and the associated connotations and emotions. Translation theory advances thinking about film adaptation by enabling a more rigorous critical methodology. Intertextuality is referring to the original piece whereas adaptation is a recreation of the piece. The alterations are due to a number of factors, including the difference in media, the number of individuals working on the production, and those viewing the film, or even time periods. This essay revisits Karel Reisz’s 1981 film adaptation of John Fowles’s The French Lieutenant’s Woman (1969) through the shift in film adaptation studies from fidelity criticism to Robert Stam’s notion of adaptation as intertextual dialogism, which draws on Roland Barthes’s theories of text and intertextuality and Julia Kristeva’s dialogic model of intertextuality. Such factors are the especial focus of intertextuality theory. The main difference between these two terms is that intertextuality does not have to necessarily encompass a whole work. Texts that might be examined in this course include films, video games, television shows, novels, comics/graphic novels, operas, and musicals. Adaptation doesn’t allow two worlds to come together and maintain alone simultaneously. ( Log Out /  An adaptation is a work that has been inspired by another work. Thomas Leitch. I think that intertextuality is when a work is completely original with pieces of other texts tied in at certain times, whereas an adaptation’s base is something that has already been told or created. WOMEN, THEY HAVE MINDS: The Genius of Intertextuality Between Alcott’s ‘Little Women’ and Gerwig’s Film Adaptation Xander Dave Galagar Ceballos College. Overall, the paper proposes that Shahrzad is a palimpsestuous hive of intertextuality. Those critical of this line of thinking, by contrast, suggest that a text’s meaning is fixed, and that the role of the adapter is to identify and carry that meaning across the borders of media as faithfully as possible. Rodopi, 2005 - Performing Arts - 289 pages. The movie entitled “Date Movie” is an example of intertextuality as scenes in it are inspired by famous date movies and the novel “Wide Sargasso Sea” is an example of intertextuality as well as there are instances where it refers back to the novel “Jane Eyre”. ( Log Out /  The relation between such second-order creations and their source materials is not communicative but hermeneutic, depending on the translator's or filmmaker's application of … That the content and style of Marivaux, rather than Maroh, informs the film’s first act is evidence of the film’s complex intertextuality. It is a great way to add substance and meaning to a film or any piece of Art/Literature. However, intertextuality is different from adaptation because an adaptation expresses and acknowledges the influence of another work in a much more encompassing way. Whereas, intertextuality is taking a book’s or film’s ideas, altering them, and making something completely new out of it. 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