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ThĠories de l'adaptation

Laurent ÓelleWH UniverViWé Te

Bourgogne

Shannon Wells-LaVVagneH UniverViWé

de Bretagne Sud

Focalisation au cinéma

Focalisation: ce que sait un perVonnage

OcularisationJ la relaWion enWre ce que la caméra monWre eW ce que le UéroV eVW cenVé voir

AuricularisationJ les relaWionV enWre

perVonnageVH VpecWaWeur eW informaWionV auditives -ŃrançoiV JoVWH L'Vil-caméra NnWre film eW roman (1987)H Lyon J PreVVeV UniverViWaireV Te LyonH 1989.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

Séminaire "TexWe-image" Te lGNRIAC

Véance Tu 9 avril 2013

Focalisation au cinéma

Focalisation interne: motivée par un regard, caméra subjective

FocaliVaWion exWerne J

-ŃrançoiV JoVWH L'Vil-caméra NnWre film eW roman (1987)H Lyon J Presses UniverViWaireV Te LyonH 1989.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Le langage du cinéma

" TUe vocabulary of film iV WUe Vimple pUoWograpUeT image; the grammar and syntax of film are the eTiWingH cuWWingH or monWage proceVVeV by wUicU WUe shots are arranged. Single shots have meaning much as single words do, but a series of carefully arrangeT VUoWV conveyV meaning mucU aV a composed phrase does. » -RoberW RicUarTVonH Literature and Film,

Bloomington J InTiana UniverViWy PreVVH 1969.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Une équivalence langagière

le plan est un mot, ses compoVanWV VonW TeV leWWreV la Vcène eVW une pUraVeH la Véquence eVW un paragrapUeH le film eVW un WexWe. -CUriVWian ÓeWYH Essais sur la signification au cinéma, Paris : OlinckVieckH 1968. -CUriVWian ÓeWYH Langage et cinéma, Paris : Larousse, 197

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Le narrateur filmique

Le monVWraWeur " préVenWe » (viVion TirecWe) Ce qui est montré, filmé: la mise en scène Le narrateur " repréVenWe » (viVion inTirecWe)

Le montage, la " miVe en cUaîne »

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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" Time in WUe novel iV conVWrucWeT wiWU worTV. In the cinema it is constructed with actions. The novel creates a worlT wUile WUe cinema puts us in the presence of a worlT wUicU iW organiYeV accorTing Wo a certain continuity. The novel is a narrative which organiYeV iWVelf in a worlT; WUe filmH a worlT wUicU organizes itself in a narrative. » -JameV GriffiWUH Adaptations as Imitations, University of Melaware PreVVJ NewarkH MNH 1997H 25.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Absence de narrateur filmique?

le perVpecWiviVme: le VpecWaWeur voiW eW construit pour lui le constructivisme: le VpecWaWeur joue un rôle central dans la narration du film.

TUe UniverViWy of PiVconVin PreVVH 1985.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Interpréter la narration filmique

Le canal audible

bruit, voix, muViqueH à l'Ġcran ou hors-cUamp

Le canal viVuel

Sa naWureJ lieuH acceVVoireH acWeur

Son traitement: cinématographique (la lumièreH la couleurH les angles de vue et les mouvements de caméra)H monWage

Seymour CUaWmanH Story and Discourse: Narrative Structure in Fiction and Film (1978)H IWUaca eW LonTreV J Cornell University Press, 1989.

Seymour CUaWmanH Coming to Terms: The Rhetoric of NarraWive in ŃicWion anT Ńilm, Ithaca et LonTreV J Cornell University Press, 1990.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

Séminaire "TexWe-image" Te lGNRIAC

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Shannon Wells-LaVVagne eW LaurenW ÓelleW

Séminaire "TexWe-image" Te lGNRIAC

Véance Tu 9 avril 2013

Shannon Wells-LaVVagne eW LaurenW ÓelleW

Séminaire "TexWe-image" Te lGNRIAC

Véance Tu 9 avril 2013

Shannon Wells-LaVVagne eW LaurenW ÓelleW

Séminaire "TexWe-image" Te lGNRIAC

Véance Tu 9 avril 2013

Shannon Wells-LaVVagne eW LaurenW ÓelleW

Séminaire "TexWe-image" Te lGNRIAC

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Before WUe CurWain

AnT wiWU WUiVH anT a profounT bow Wo UiV paWronVH WUe Óanager reWireVH anT WUe curWain riVeV. -Preface Wo Vanity ŃairH 1848

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Let oWUer penV Twell on guilW anT miVery. I quiW VucU oTiouV VubjecWV aV Voon aV I canH impaWienW Wo reVWore everyboTyH noW greaWly in faulW WUemVelveVH Wo Wolerable comforWH anT Wo Uave Tone wiWU all WUe reVW.

I purpoVely abVWain from TaWeV on WUiV occaVionH WUaW every one may be aW liberWy Wo fix WUeir ownH aware WUaW WUe cure of unconquerable passionsH anT WUe WranVfer of uncUanging aWWacUmenWVH muVW vary mucU as to Wime in TifferenW people. I only enWreaW everyboTy Wo believe WUaW exacWly aW WUe Wime wUen iW waV quiWe naWural WUaW iW VUoulT be VoH anT noW a week earlierH NTmunT TiT ceaVe Wo care abouW ÓiVV CrawforTH anT became aV anxiouV Wo marry Ńanny aV Ńanny UerVelf coulT TeVire.

-Mansfield Park, Ch. 48

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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All art, therefore, appeals primarily to the

VenVeVH anT WUe arWiVWic aim wUen expreVVing

itself in written words must also make its appeal trying to achieve is, by the power of the written and it is everything. -JoVepU ConraTH préface à The Nigger of the

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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George Bluestone, Novels into Film (1957)H

Berkeley J UniverViWy of California PreVVH 1971.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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ÓuWaWionV are probable WUe momenW one goeV

from a given set of fluid, but relatively homogeneous, conventions to another; changes are inevitable WUe momenW one abanTonV WUe linguiVWic for WUe viVual meTium.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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PUaW UappenVH WUereforeH wUen WUe filmiVW

unTerWakeV WUe aTapWaWion of a novelH given WUe ineviWable muWaWionH iV WUaW Ue ToeV noW converW the novel at all. What he adapts is a kind of raw maWerial.

George Bluestone, Novels into Film, 62.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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from Novels, Newark J UniverViWy of Melaware

PreVVH 1997.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Brian McFarlane, Novel to Film: An Introduction

to the Theory of Adaptation, Oxford J ClarenTon

PreVVH 1996.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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If you want the same experience (and believe you

can have just that experience twice) that you had in reading the novel, why not simply reread the novel? It's much more likely to produce the desired effect. Fidelity is obviously very desirable in marriage; but with film adaptations I suspect playing around is more effecWive.

Brian McFarlane, " It wasn't like that in the

}}lY »H in JameV Ó. PelVU anT PeWer LevH eTV.H The Literature/Film Reader - IVVueV of ATapWaWion, Lanham, Maryland J Scarecrow PreVVH 2007H 3-14H 6.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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-AnTrew HigVonH English Heritage, English Cinema: Costume Drama since 1980, Oxford J OxforT University Press, 2003, 39 et 172.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Geoffrey Wagner, The Novel and the Cinema,

Rutherford J ŃairleigU MickinVon UniverViWy PreVVH 1975.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Dudley Andrew, Concepts in Film Theory,

Oxford J OxforT UniverViWy PreVVH 1984.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Deborah CarWmellH eW ImelTa PUeleUanH eTV.H

The Cambridge Companion to Literature on

Screen, Cambridge J CambriTge UniverViWy PreVVH

2007.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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What fascinates us here is not so much the

taxonomies themselves, which reflect disciplinary preferences and often the privileging of one meTium over anoWUerH buW WUiV will to WaxonomiYe, which is symptomatic of how the field has tried to mark out its own territory.

MeboraU CarWmellH eW ImelTa PUeleUanH eTV.H

The Cambridge Companion to Literature on

Screen, Cambridge J CambriTge UniverViWy PreVVH

2007, 2.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Thomas Leitch, Film Adaptation and its

Hopkins University Press, 2007.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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- curatorial - adjustment - neoclassic imiWaWion - revisions - colonization - (meWa)commenWary or TeconVWrucWion - analogue - parody anT paVWicUe - secondaryH WerWiary or quaWernary imiWaWionV - allusion

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Robert SWamH eW AleVVanTra RaengoH eTV.H A

Companion to Literature and Film, Oxford J

Robert SWamH eW AleVVanTra RaengoH eTV.H

Literature and Film: A Guide to the Theory and

2005.

Robert SWamH eW AleVVanTra RaengoH eTV.H

Literature through Film: Realism, Magic, and the

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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film is a shameful betrayal of the original. An adaptation that updates the text for the present is upbraided for not reVpecWing WUe perioT of WUe VourceH buW reVpecWful coVWume TramaV are accuVeT of a failure of nerve in noW sexual passages of the source novel literally, it is accused of vulgariWy; if iW failV Wo To VoH iW iV accuVeT ofH cowarTice.

The adapter, it seems, can never win.

-RoberW SWamH " TUe WUeory anT pracWice of aTapWaWion »H in Robert SWamH eW AleVVanTra RaengoH eTV.H Literature and Film: A Guide to the Theory and Practice of Film

ATapWaWion, 1-52H 8.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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-RoberW SWamH " TUe WUeory anT pracWice of adaptation »H in RoberW SWamH eW AleVVanTra RaengoH eds., Literature and Film: A Guide to the Theory and PracWice of Ńilm ATapWaWion, 1-52H 20.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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Kamilla NllioWWH Rethinking the Novel/Film

Debate, Cambridge J CambriTge UniverViWy

PreVVH 2003.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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- the pVycUic concepW of aTapWaWion - the ventriloquist concept of adaptation : " iW blatantly empties out the noǀel's signs and fills like a ventriloquist, props up the dead novel, throwing its voice onto the silent corpse. » - the geneWic concepW of aTapWaWion - the de(re)compoVing concepW of aTapWaWion - the incarnaWional concepW of aTapWaWion - the Wrumping concepW of aTapWaWion

Shannon Wells-LaVVagne eW LaurenW ÓelleW

Séminaire "TexWe-image" Te lGNRIAC

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Linda HuWcUeonH A Theory of Adaptation, New

York J RouWleTgeH 2006.

Shannon Wells-LaVVagne eW LaurenW ÓelleW

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