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- Volume 13, Issue 2, 2020
Journal of Adaptation in Film & Performance - Volume 13, Issue 2, 2020
Volume 13, Issue 2, 2020
- Editorial
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- Articles
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Claude Jutra’s Surfacing (1981) through visual spectacles: Framing female body, voyeurism and paranoia
Authors: Nausheen Ishaque and Saba RiazThis article examines Claude Jutra’s 1981 film adaptation of Margaret Atwood’s Surfacing in terms of its focus on female body, voyeurism and paranoia. The psychoanalytic perspective of the feminist film theory, with its emphasis on visual pleasure, narcissism, the male gaze, scopophilia, fetishization of the female, the oedipal nature of the narrative and female subjectivity, provides a pragmatic groundwork for the theoretical underpinning of this study. In the same way, the film apparatus, such as editing and camera work, provides a semiotic impetus to the spectator to identify with the perfect male, and not with the distorted female. With its focus on various scenes, generic codes and aspects of the film, the paper furthermore sees how Jutra’s production validates the prejudices of the classical film narrative in the context of the female image, sexual difference, female desire and stereotyped female paranoia. Despite its narrative focus on the quest of a female protagonist, Jutra’s film conforms to the traditional model of the classical cinema wherein the woman is no more than a signifier – an entity that signifies things in relation to men only.
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A theatrical metanarrative of Cervantes’ Don Quixote: Dramaturgy, corporeality and play
More LessIn 2018, Efi Birba offered the Greek public a different theatrical version of the famous Cervantes’ novel, Don Quixote. Exclusively profiting the storytelling dynamic of the body, she used playing as the main tool of the literary interpretation and meaningfulness. Her directorial choices removed her from the concept of theatrical adaptation and introduced her into the field of metanarration. In this article, I explore the dramaturgical rhetoric of the performance and the narrative devices being used in. Highlighting the concept of ‘play’ as the main technique, I point out the performative flow as a non-verbal field where the body may not just represent or tell a story, but actually be that story and shift it from one level to another. Questions about corporeal awareness, timing and spatiality are raised, as well as questions about the metanarrative potential of a corporeal performance to translate literary meanings and deepen into allegorical insights and symbolisms.
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Revitalising the Liang-Zhu legend: Edward Lam Dance Theatre’s postdramatic Art School Musical (2014)1
More LessHong Kong Theatre director Edward Lam has established close association with an ensemble of Taiwanese actors, collaborating on almost every production since Madame Bovary is Me (Baofali furen men, 2006) and touring to Taiwan, Hong Kong and Mainland China. This article examines Lam’s unique working pattern through the analysis of Art School Musical (Successors to Liang and Zhu, Liang Zhu de jichengzhe men, 2014), the 54th production by the Edward Lam Dance Theatre (ELDT). Inspired by the famous Chinese legend The Butterfly Lovers (Liang Shanbo yu Zhu Yingtai), Lam created a postdramatic musical as a Bildungsroman in a format of classroom drama. The love story underwent a poetic transformation through the lyrics and music. The ELDT version of the Liang-Zhu legend carries Lam’s criticism of the stereotypes assigned to young people in patriarchal societies and allows him to elevate the love story into an allegory of one’s quest for the meaning of life.
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How The Pink Panther came alive and how The Thin Man grew fatter: Hungry franchises and the adaptation industry
More LessWhile entertainment franchises are usually not associated with engaging in adaptive work in the traditional sense of the term, the sheer necessity of creating new material for serialised properties makes adaptive work a necessity. Frequently, franchises will absorb other material, an aspect that has so far been neglected in studies of what Simone Murray calls the ‘adaptation industry’. This article discusses two entertainment properties that made a habit of lapping up cinematic trends and other properties in order to feed their appetite as ‘hungry franchises’: the Thin Man series (1934–47) and the Pink Panther films (1963–2009). They exhibit similar adaptive strategies to reconcile contemporary audience expectations and industrial trends with their needs as profitable studio properties. In the process, they also show somewhat Frankenstein-like tendencies towards monstrosity, eventually turning against their own creators.
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- Practitioners’ Perspectives
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- Book Review
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Shakespearean Celebrity in the Digital Age: Fan Cultures and Remediation, Anna Blackwell (2018)
More LessReview of: Shakespearean Celebrity in the Digital Age: Fan Cultures and Remediation, Anna Blackwell (2018)
Basingstoke: Palgrave Macmillan, xiii + 188 pp.,
ISBN 978-3-31996-543-7, h/bk, €72.79, p/bk, €51.99;
ISBN 978-3-31996-544-4, e/bk, €42.79
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Volumes & issues
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Volume 17 (2024)
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Volume 16 (2023)
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Volume 15 (2022)
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Volume 14 (2021)
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Volume 13 (2020)
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Volume 12 (2019)
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Volume 11 (2018)
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Volume 10 (2017)
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Volume 9 (2016)
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Volume 8 (2015)
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Volume 7 (2013 - 2014)
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Volume 6 (2013)
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Volume 5 (2012)
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Volume 4 (2011)
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Volume 3 (2010 - 2011)
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Volume 2 (2009)
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Volume 1 (2007 - 2009)
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Editorial
Authors: Richard Hand and Katja Krebs
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