타르코프스키의 <솔라리스>와 각색의 문제

이윤영 문학과영상학회 2008 문학과영상 Vol.9 No.1

Andrei Tarkovsky’s Solaris (1972) raises a number of crucial questions concerning cinematic adaptation of literary sources. At a glance, the film appears to be faithful to the original story of the same title, a Polish science fiction written by Stanislaw Lem in 1961: the film repeats not only the original title of the novel but also the entire narrative structure, along with its characters and main events depicted in the novel. What unsettles the notion of a “faithful” adaptation emerges out of this deceiving directness; a closer look at the film reveals that Tarkovsky has made a drastic departure from the novel and that the film explores its own thematic elements and motifs beyond Lem’s scope. Tarkovsky departs from the original novel in three major aspects. Firstly, having no interest in genre cinema, Tarkovsky clearly intended to systematically eliminate the defining characteristics of the science fiction genre. Secondly, Tarkovsky cultivated his own thematic orientations by re-working the mysterious situations depicted in the book. The “visitors” in the space station, for instance, who in the novel are merely “incarnations” of the scientists’ own personal memories, become the true, hidden dimensions of the inner self for the Russian director, allowing him to deal with ethical questions that did not concern the novelist. Lastly, he made use of Pieter Bruegel’s paintings including The Hunters in the Snow in order to create intertextual meanings that enhance Tarkovsky’s own theme. The “text within a text” indeed emerges as a crucial area of investigation in studying film adaptation as it radically reshapes the thematic orientations. Inasmuch as Tarkovsky’s film autonomously explores its own theme independent of its original story, the adaptation of Solaris is neither faithful to nor free from the novel, but rather “critical” of it. A “critical adaptation” is an approach to expand the cinematic means of communication by reworking literary sources and thus maintain the autonomy of cinema as an art form free from the traditions of literary film. Tarkovsky’s is the most creative and justifiable form of cinematic adaptation of literary sources. Andrei Tarkovsky’s Solaris (1972) raises a number of crucial questions concerning cinematic adaptation of literary sources. At a glance, the film appears to be faithful to the original story of the same title, a Polish science fiction written by Stanislaw Lem in 1961: the film repeats not only the original title of the novel but also the entire narrative structure, along with its characters and main events depicted in the novel. What unsettles the notion of a “faithful” adaptation emerges out of this deceiving directness; a closer look at the film reveals that Tarkovsky has made a drastic departure from the novel and that the film explores its own thematic elements and motifs beyond Lem’s scope. Tarkovsky departs from the original novel in three major aspects. Firstly, having no interest in genre cinema, Tarkovsky clearly intended to systematically eliminate the defining characteristics of the science fiction genre. Secondly, Tarkovsky cultivated his own thematic orientations by re-working the mysterious situations depicted in the book. The “visitors” in the space station, for instance, who in the novel are merely “incarnations” of the scientists’ own personal memories, become the true, hidden dimensions of the inner self for the Russian director, allowing him to deal with ethical questions that did not concern the novelist. Lastly, he made use of Pieter Bruegel’s paintings including The Hunters in the Snow in order to create intertextual meanings that enhance Tarkovsky’s own theme. The “text within a text” indeed emerges as a crucial area of investigation in studying film adaptation as it radically reshapes the thematic orientations. Inasmuch as Tarkovsky’s film autonomously explores its own theme independent of its original story, the adaptation of Solaris is neither faithful to nor free from the novel, but rather “critical” of it. A “critical adaptation” is an approach to expand the cinematic means of communication by reworking literary sources and thus maintain the autonomy of cinema as an art form free from the traditions of literary film. Tarkovsky’s is the most creative and justifiable form of cinematic adaptation of literary sources.

中国网络小说的电影改编

유영 한국중문학회 2022 中國文學硏究 Vol.- No.87

Film adaptations of Chinese network novels are an important part of the cultural industry. Various audio-visual experiences can be brought by adapting popular network novels into films, which are not available in network novels. The readership of the network novel can also be transformed into the audience of the movie, thus increasing the box office of the movie. Moreover, the movie can also promote the publication and sales of the network novel, so that the network novel can be spread secondarily and expand its influence. The network novel’s film adaptation refers to the process of adapting the network novel into a screenplay and then making it into a film. Unlike traditional novel adaptations, network novel adaptations are movies or network blockbusters that are broadcast on TV platforms, in cinemas and online. Currently, the main methods of adapting network novels to the film are reproduction adaptation and rewriting adaptation. The network novel was first adapted into a movie in 2000 and has been around for almost 21 years now. The development process of a network novel’s film adaptation is mainly divided into the exploratory, the development and the prosperity. There are 132 movies adapted from network novels that have been shown in cinemas and on mainstream online platforms from 2000 to 2021. The network novel film adaptation model has been formed and gradually improved as the three Internet giants Baidu, iQIYI and Youku join the film industry, and occupy a place in the U.S. market. As the market for film adaptations of network novels continues to expand, a number of problems have emerged along with it. Firstly, There are problems with the creation of network novels. Secondly, there are problems with the process of film adaptation of network novels. Finally, There are problems with filmmaking. The corresponding countermeasures to improve these problems are: first, countermeasures related to network novels, including improving the quality of network novels, improving the literary quality of network writers, and protecting the copyright of network writers. Second, film adaptation-related countermeasures, including the need for film teams to explore novel film adaptation themes, consider the relationship between business and art when adapting films, and coordinate the relationship between literature and audiovisuals. Third, countermeasures related to film production, including directors and filmmakers need to control the quality and quantity of films, conduct market research, actively involve audiences in film production, and establish alliances between network novels and films. In the context of the rapid development of network novel websites and the increasing number of popular and richly-themed network novels being adapted into movies or network movies, this paper has the practical significance of research and the value of continuing in-depth research.

셰익스피어의 희곡텍스트들에 대한 오손 웰즈의 영상 번안 전략 연구 -<맥베스>와 <오델로>의 영상 테크닉 비교 중심으로-

조성덕 ( Sung Duck Cho ) 한양대학교 현대영화연구소 2013 현대영화연구 Vol.9 No.1

The purpose of this study is mainly to examine the fundamental principles of film adaptation and also investigate especially into the main strategy of Orson Welle film adaptations of literary works in terms of artistic approach of his own. The strategy of his film adaptation was not only to include the main intentions of original writers but also add his own vision and themes so that the process of adaptation could create the unique artistic works. During his own career, Orson Welles filmed many Shakespeare film adaptations. For example, Macbeth remains true to the play`s text but present it with his visual vision in terms of artistic filming. Also Orson Welles didn`t hesitate to add his own themes into his film adaptation ``Macbeth``. But Welles dramatically changed his own conception of film adaptation when in filming his next project, ``Othello`` since the film version which showed his changed conception of film adaptation was radically different from his prior adaptation. While his intention was still not to harm the original texts, his film version of ``Othello`` was a creative adaptation but also included new themes and ideas of his own. Also one of his last adaptation films, ``The Trial`` could be regarded as his best and ideal adaptation. Therefore Investigating into experiments of Orson Welles will prove beneficial to learning process of how to create unique film adaptations.

Intertextuality and Translation in Film Adaptation

Sung-eun Cho 한국외국어대학교 영미연구소 2005 영미연구 Vol.12 No.-

  Even though the relationship between literature and film has evolved and grown extremely complex over the years, the most common mainstream discussions on this topic have centered on the notion of fidelity of the adapted film. However, many have come to realize that a study of adaptation based on fidelity criticism is inadequate and arguable. The fidelity issue overlooks the possibility of viewing cinematic adaptations as intertextual works and as critical interpretations of the literary text, which then enhance and expand our reading of the literary works. The film represents the filmmaker"s subjective understanding of the literary source. The cinematic adaptation of a novel therefore need not be seen uniquely as a question of "fidelity" to the source material.<BR>  A cinematic adaptation of a literary text is essentially an interpretation of the original text using a different medium. It is fundamentally a translation, from one medium to another, of a narrative. Thus, the adaptation of literary texts to the medium of film can be examined within the context of translation.<BR>  Furthermore when adaptation is studied along with the concept of intertextuality, the relation between the filmic text and its precursor written text stands less in a hierarchical order and more as an exchange, which adds to both text and source. The study of adaptation can now break out of the fixed notion of "original" versus "copy", which has dominated much of the discussion of film adaptation in recent years. Thus, the complex relationship between novel and film should now be explored in terms of other theoretical dimensions.

영화매체를 통한 영문학 교육

黃致福(Chee-bok Hwang) 한국영어교육연구학회 2005 영어교육연구 Vol.- No.30

Leslie Fiedler, American critic, expressed an interest in the popularity of a new culture against Elitism in 1970s. His argument in favor of cooperation with screen in order for literature to survive in an image media age has proven to be an effective prediction today. Not only do Literature and Film share “narrative” as a common feature but they also have a high degree of mutual dependence in the technical and developmental aspects. This is why no one questions when a work of literature is made into a film or when a film is made into a work of literature. Then, what meaning does the making of a literature into a film hold? Does it mean that the medium of film is simply used as a lower category of literature? Or, does it mean a completely new way of seeing a story? Letter and image both have “narrative” as a common feature but each of them is possessed of strictly different structure. That is, Novel and Film share “narrative style” in the way they have a “story structure” but they nevertheless have strictly different medium characteristics. When a literary work is made into a film, at the same time remembering the above characteristics, the change in length and content is determined by genre in the process of adaptation. In order to look into the details of these changes, a study of specific works is necessary for a better understanding of novel and film. This study aims to critically analyze John Steinbeck's The Grapes of Wrath in the form of original novel and in the form of a complete film adaptation of the same novels. In doing so, analyses of the transformational process of the characters will be made. This study has been undertaken to find ways for literature to survive in an age of a close relationship between literary works and film. It is important to select broad materials for an efficient study of literary style and production of film. To this end, the film adaptation of The Grapes of Wrath by John Ford in 1940. The analyses of the change into a film will center on critical analyses of the transitional processes of the characters and the perception of reality by each character. The main purpose of this study is to find out how the dominant discourse builds up our visual perception. I investigated how the protagonist of The Grapes of Wrath, Tom Joad, and his mother Ma Joad's cognition of the reality changed from family-centered mind to a love of humanity encompassing pan-human race against the background of the Depression. Also, I investigated how Jim Casey's shift to transcendentalism became the source of brotherhood and social realization. In conclusion, I showed how an adaptation of novel to a film is intimately related through Steinbeck's The Grapes of Wrath and its film adaptation during the tendency of the times. In this way, I was able to conclude that mutual complementation of the two different media led this study toward thorough understanding of Steinbeck and his work.

최하원감독의 작품세계론 : 신앙심으로 만드는 영화

김수남 청주대학교 학술연구소 2013 淸大學術論集 Vol.20 No.-

Dir. Choi started to participate in Korean film world as assistant of dir. Lee, Seonggu 's part. He debu in adapted scenario <Trees stand on the slope 나무들 비탈에 서다>(1968). And he was well known to Korean film world by the adapted scenario, <A old Poter 독짓는 늙은이>(1969), <A Female Shaman 무녀도>(1972) and Catolic flim, <A Sound of Drum from the Saenam Field 새남터의 북소리>(1972), <Invited People 초대받은 사람들>(1981), <Invited Holy Hero 초대받은 성웅들>(1984). We have known dir. choi made his film by deeply religious faith. We can find this points in every his film and various genre such as melodrama, religion film, social film, ideology film, traditional film, native life film etc.. I studed on dir. Choi's film world in three parts. Firstly I discuussed on his adapted scenario's film and secondly I checked special points in his Catholic film and lastly I tried find that how to show his relision faith in his other film. In this thesis I specially interested in Adaptation of Novel for the Scenario. We live in complex media era. So contents are turned by changes of media as a necessity. The scenario is an image text to be literation. Especially we pay attention to adapted scenario in which is related to novels as the source of materials. Adaptation requires originality, which is different from the original text. Dir. Choi has insisted that the Scenario is a independent text to cover literature and images. It is not important that literary works is adapted by the scenario. We have to concern how it is cinematized It is an attempt to approach the interior and exterior elements with transformed aspect. In Conclusion Dir. Choi stressed character's complicated mind by refusing the story development of original novel. His filmmaker's mind to inssist that every directors try to make truly film for audience by avoiding to make entertainment films. Dir. Choi suddenly opens his eye to bring up the new filmmakers. He realized Korean film world requires high class filmmakers. So he leaved from his field and he teached students in the national film academy. Lastly he retired from the department of theatre and film in the university of Dangun. In this thesis I studied on the dir. Choi's film world and his auterism through investigating his all film's contents and important few films's image.

The Structure of Tristram Shandy: A Cock and Bull Story

Won Jyung Yang 근대 영미소설 학회 2007 근대 영미소설 Vol.14 No.1

Michael Winterbottom`s Tristram Shandy: A Cock and Bull Story is the first film adaptation of Laurence Sterne`s Tristram Shandy. Throughout the adaptation, Winterbottom tries to capture the chaotic spirit of Sterne`s novel in the film`s structure that consists of three different levels of fictional world: the fictional world of Sterne`s novel in the form of a film-within-a-film, the present-day plot of making that film-within-the-film, and the ultimate metafictional world of film-making that integrates both the film-within-the-film and the present-day plot. In the beginning, Winterbottom focuses his movie on the present-day filming of Sterne`s novel, representing a few episodes from the novel in the film-within-the-film. In order to highlight the chaotic spirit and the ambiguities of the novel, Winterbottom also blurs the boundary between fiction and reality by mixing up the fictionalized film-making happenings with happenings in real life. Finally, he arranges the surprising ending where the present-day plot is integrated into the finished film-within-the-film and the third fictional world gets constructed at the same time. All in all, Winterbottom`s film retains quite successfully the spirit of Tristram Shandy within its chaotic structure of the multi-layered fictional world.

Русская литература в отечественном и мировом кинематографе: К вопросу о необходимости комплексного изучения и анализа в аспекте компарат

Суровцева Е.В(E. V. Surovtseva) 고려대학교 러시아 CIS연구소 2019 Acta Russiana Vol.11 No.1

The article raises question of need to systematize of material on topic of «Screen Versions (first of all - domestic) of Russian literature» (in line with interdisciplinary research) and its comprehensive analysis, which is not only for historians of literature and film historians, but can also be used in University teaching. We have compiled preliminary list of Russian film adaptations of Russian literature (it includes 115 items). In addition, we raise question of need for comprehensive study of different adaptations of the same literary work (both domestic and foreign) and suggests that foreign adaptations and comparative analysis of domestic and foreign adaptations are actively developing comparative studies. As example, we give the name of film adaptations of several Russian works. On the basis of our preliminary list, it is already possible to identify some of the issues facing researchers. 1. Some works have been screened more than once - and here it is necessary to carry out a comparative screen version between themselves and with the literary source. 2. Most of the adaptations are named after the source text, but there are exceptions. 3. In some cases, the screen version takes in more than one source code. 4. You can call a number of adaptations, which have become much more popular than the literary sources. 5. Speaking about the screen versions of modern works, it should be borne in mind that in some cases their authors are also the authors of the script for the film. 6. The ratio of the literary source and film adaptation, created as part of the same culture - the story of transformation (including truncation); the transformation of name, the film has another, distinct from the work; the title, Director s extras; and the music, the costumes, the choice of actors, the degree of getting used in the era of the creation of a literary text; 7. The ratio of different film adaptations of the work created in the same culture as the work - a comparison of various plot transformations of the work and its name; music, costumes and the degree of implantation in the era of literary text; 8. The ratio of literary work and foreign film adaptation - this area of research can be considered one of the areas of modern comparative studies; 9. The ratio of different adaptations belonging to different cultures, which can also be considered a field of comparative studies; first of all, in our opinion, should be a comparison of foreign adaptations to each other, and the adaptation of foreign and created in the same culture as the product, which will help to fully analyze the meaning and perception of this work in the native and foreign culture; 10. When working with adaptations, it is also necessary to take into account their format - a film (one or more series), a serial film, a television series, a TV show; we stipulate that it is necessary to consider all possible adaptations, including the silent film that existed at the beginning of the XX century.

브론테의 『워더링 하이츠』 영화 각색과 섹슈얼리티

김진옥 ( Kim Jin Ok ) 한국현대영어영문학회 2017 현대영어영문학 Vol.61 No.2

This paper examines the difference in characteristics of the 1939 film and 1992 film of Wuthering Heights, focusing on the theme of sexuality. My analysis relies on the adaptation theories of Kamilla Elliott and her two concepts of film adaptation: The ventriloquist concept of adaptation and the trumping concept of adaptation. The 1939 film by William Wyler is faithful to the verntriloquist concept of adaptation in which it reduces the novel`s complex and violent words and actions, replacing them with a mercenary economic process that preys on romantic desire. The 1939 film, in order to attract the attention of the audience, depicts a romantic love that was more permissible in the 1930`s, as opposed to the violent love presented in the novel. However, the 1992 film (directed by Peter Kosminsky) expresses the repressed Victorian sexuality. This modern film shows Elliott`s idea in the manner that films claim to trump the novels they adapt. This film does a work of psychoanalysis for this novel, its author, and culture in which the story is set. (Hanbat National University)

사트라피의 『페르세폴리스』: 그래픽노블에서 애니메이션영화로

안영순 국제언어인문학회 2011 인문언어 Vol.13 No.2

Persépolis of Marjane Satrapi : From a Graphic Novel to an Animation Film Young-Soon Ahn (Soonchunhyang University) “Persépolis” is a 2007 French animated film based on Marjane Satrapi's autobiographical graphic novel of the same name. The film was written and directed by Satrapi with Vincent Paronnaud. The story follows a young girl as she comes of age against the backdrop of the Iranian Revolution. The story ends with Marjane as a 24-year-old expatriate. The title is a reference to the historic city of Persepolis. “Persépolis” follows the story of young Marjane Satrapi, the only daughter of an educated Teheran couple who travels through an epic journey of political struggle, Western idealization, religious fanaticism, teenage angst, alienation and depression, and ultimately self-discovery. This animation film is a very true and affectionate adaption of the original comic also drawn by Satrapi who directed the film. The purpose of this article is to study the aspects of adaptation from a graphic novel to an animation film: the transformation of dramatic structure and the mise-en-scène techniques that the directors use to express the process of overcoming Marjane's state of the Otherness. The story is done in flashbacks and most of the animation is in black and white except at the beginning and the end of the film when the narrator is speaking in the present. By reconstituting the narrative structure of the original, the film is split rigidly into three acts and there are certain problems with its structure. Divided in three acts, the film follows Marjane Satrapi as she navigates through an oppressive environment, in both Iran and Austria, while on the lookout for her identity and self worth. Marjane's struggle for establishing her own subjectivity and identity is the film's driving force. And using various mise-en-scène techniques, the directors succeed in describing exquisitely Marjane's inner state of mind as the Other or a marginal man. To contrast the film and its graphic novel roots is made redundant by its production, as it's making a conscious effort to steer clear from recreating the panels as is. Film is more cinematic in approach and fully takes advantage of its use of music and color. As opposed to the novel's more linear story telling, “Persépolis” follows a mainly flashback- driven narrative which further emphasizes main protagonist's faint sense of nostalgia. Music is also used to much effect, as sequences involving popular music will be marked as a highlight, clearly in absentia from the novel. The overall effect is interesting: both mediums become more complementary rather than a substitute.