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Fiction Adaptation
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Sam Babington
Fiction Adaptation
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Contents Page
Cover Page.....................................................................................1
Introduction..................................................................................3
Main Body.................................................................................3-6
Conclusion................................................................................N/A
Bibliography.................................................................................7
Sam Babington
Fiction Adaptation
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Main Body
Primarily, the supernatural drama series Grimm, can be argued that it infringes
the integrity of fairytale stories to an extent that it almost transforms instead of
adapting the original stories. The vast adaptations consist of a metamorphosis of each
fairytale, which instead now conforms to the hybrid genre the auteur has added
thriller and horror to the narrative. Such transformation can be argued to be an avantgarde transformation. For example, Alexander Graf quotes that avant-garde
unfetters dynamism and allows the cinemas to charm to achieve its full potential
to become mysterious(3). This is evident in Grimm, as the conventional fairytale
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narrative has been challenged to arguably adapt for the post-modern audience.
(talk about cinematography style/colour of filming)
Throughout this essay, most points are likely to intervene with the diversion
between postmodernism and modernist audience. This is significantly applicable
within Grimm due to the development of fairytale stories being within the 1700s and
Grimm being in the latest century. Such time diversion however can be criticized
through the characters homage. Although Grimm is a transformation, some
characters are still instantly recognizable and iconic to the original fairytales. For
example, throughout the series, there are clear character traits relating to Cinderella,
Snow White, Little Red Riding Hood and so on. Nonetheless, it is inevitable that these
traits will be adapted to conform to the postmodernist tropes and idioms. This may be
why the auteurs of Grimm have created a pastiche and morbid-twist of these
fairytales, so that the series becomes distinctive and confirmative for the modernized
audience. Such modernization is reinforced by Frus, who quotes Because there are
so many fairytales being retold adaptations may transform texts by borrowing,
mocking, challenging or correcting the ideology of the processor. Thus, series like
Grimm are almost forced to infringe its originality so that the adaptation becomes
more distinctive and avant-garde making it seem more significant as a film piece.
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Sam Babington
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Gatsby, also uses symbolism however in a more visualized and metaphorical way. For
example, the Doctor Eckleburg poster is frequently referred to within The Great
Gatsby novel as a connotation of God, thus having the same religious connotations
evident within the film. Thus, semiotics have been used in both texts to remain
faithful to the integrity of the original texts.
Roland Barthes? How Grimm & Gatsby adaptations challenge the original
narrative. Link to postmodernism and how this challenge is confirmative for
postmodernist audience
Conclusion
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Filmography
Grimm, Jim Kouf (2011-Present)
Gatsby, Baz Luhrmann (2013)
Bibliography
The Theory of Avant Garde, Peter Burger
Gatsby Movie Script:
http://www.springfieldspringfield.co.uk/movie_script.php?movie=the-great-gatsby
Semiotics: An introductory Anthology (symbolism etc)
Persuasion: Reception and Responsibility (Uses & Grats)
Intertextuality: Theories and Practices
The Great Gatsby, Fitzgerald (1925)
Giddings, R. & Sheen, E, 1999, The Classic Novel: From Page to Screen. Manchester
University Press (comparison for Gatsby book to film)
Carroll, R. (ed) (2009) Adaptation in Contemporary Culture, Continuum
International Publishing Group (fidelity of a text)
Frus, P & Williams, C (Ed) 2010 Beyond Adaptation, McFarland & Co. Inc,
Publishers (transformation)
McDougal, S.Y (1985), Made into Movies:From Literature to Film, CBS College
Publishing
Hutcheon, L, 2006, A Theory of Adaptation. Routledge
Postmodern Texts and Emotional Audiences, Kimberley Davis