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In This Article Expand or collapse the "in this article" section Adaptation

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Adaptation by Thomas Leitch , Kyle Meikle LAST REVIEWED: 29 September 2014 LAST MODIFIED: 29 September 2014 DOI: 10.1093/obo/9780199791286-0116

Studies of cinematic adaptations—films based, as the American Academy of Motion Picture Arts and Sciences puts it, on material originally presented in another medium—are scarcely a century old. Even so, particular studies of adaptation, the process by which texts in a wide range of media are transformed into films (and more recently into other texts that are not necessarily films), cannot be properly understood without reference to the specific period they were produced in. Each generation of adaptation studies has produced its own principles and orthodoxies, typically by attacking the orthodoxies and principles of the preceding generation. Adaptation studies have regularly alternated between polemics that attacked earlier assumptions in the field and readings of individual adaptations that have explored the implications of these attacks and so implicitly established new orthodoxies. The earliest work on adaptation, from Vachel Lindsay’s The Art of the Moving Picture , first published in 1915, to André Bazin’s “Adaptation, or the Cinema as Digest,” first published in 1948, grapples with the general relationship between literature and cinema as presentational modes. The second phase, focusing mostly on adaptations of individual novels to films, follows George Bluestone’s highly influential 2003 study Novels into Film , originally published in 1957, in assuming a series of categorical distinctions between verbal and visual representational modes. Most studies of individual adaptations and their sources, and most textbooks on adaptation, have been produced under the influence of these assumptions. In this third phase, Robert Stam’s 2000 article “Beyond Fidelity: The Dialogics of Adaptation” rejects the binary distinctions between source texts and adaptations; Kamilla Elliott’s 2003 book Rethinking the Novel/Film Debate deconstructs the binary distinctions between verbal and visual texts; and Linda Hutcheon and Siobhan O’Flynn’s 2012 book A Theory of Adaptation emphasizes the continuities between texts that have been explicitly identified as adaptations and all other texts as intertextual palimpsests marked by traces of innumerable earlier texts. This third phase has generated most of the leading work on adaptation theory. An emerging fourth phase is heralded by Jay David Bolter and Richard Grusin’s 1999 study Remediation: Understanding New Media and Lev Manovich’s 2001 book The Language of New Media . Both are inspired by the rise of the digital media that establishes every reader as a potential writer. These analysts use a Wiki-based model of writing as community participation rather than individual creation to break down the distinction between reading and writing and recast adaptation as a quintessential instance of the incessant process of textual production. A leading tendency of this fourth phase has been to use methodologies developed for literature-to-film adaptation to analyze adaptations that range far outside literature and cinema.

General Resources

Earlier than any other area of cinema studies, adaptation began to generate a substantial body of resources specifically designed for teachers, students, and academic researchers. The dominance of the case study in the second phase of adaptation studies produced an especially comprehensive and wide-ranging series of literature-to-cinema filmographies, some aiming for exhaustiveness, others for greater selectivity and more extended analysis of particular novel-to-film or theater-to-film pairs. The prominence of college courses in film adaptation generated a number of textbooks focusing on cinematic adaptation, and later a series of essays considering the larger theoretical and pedagogical issues that were raised, or that could be raised, by focusing on adaptations.

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A definition for 'Adaptation'

A pre-existing work that has been made into a film. Adaptations are often of literary or theatrical works, but musical theatre, best-selling fiction and non-fiction, comic books, computer games , children’s toys, and so on have also been regularly adapted for the cinema. Adaptations of well-known literary and theatrical texts were common in the silent era ( see silent cinema ; costume drama ; epic film ; history film ) and have been a staple of virtually all national cinemas through the 20th and 21st centuries. Bram Stoker’s Dracula (1897) and Arthur Conan Doyle’s Sherlock Holmes stories (1887–1927) have been adapted in a range of national contexts but probably the most adapted author is Shakespeare, whose plays have appeared in film form as a large-budget Hollywood musical ( West Side Story (Jerome Robbins and Robert Wise, US, 1961)), a historical epic set in feudal Japan ( Kumonosu-jo / Throne of Blood (Akira Kurosawa, Japan, 1957)), a Bollywood musical ( Angoor (Gulzar, India, 1982)), and a children’s animation ( The Lion King (Roger Allers and Rob Minkoff, US, 1994)), to name but a few. Adaptations often sit within cycles associated with a particular time and place, as with the British heritage film in the 1980s ( see cycle ). It is claimed that adaptations account for up to 50 per cent of all Hollywood films and are consistently rated amongst the highest grossing at the box office , as aptly demonstrated by the commercial success of recent adaptations of the novels of J.R.R. Tolkien’s Lord of the Rings trilogy and J.K. Rowling’s Harry Potter series. Other varied US adaptations include: computer games ( Resident Evil (Paul W.S. Anderson, 2002)), graphic novels ( Ghost World (Terry Zwigoff, 2001)), comic books ( The Avengers (Joss Whedon, 2012)); see also cinematic universe ; superhero film ), and children’s toys ( Transformers: The Last Knight (Michael Bay, 2017)). A number of films also display a certain level of self-reflexivity regarding the process of adaptation, as can be seen in Adaptation (Spike Jonze, US, 2002) and The LEGO Movie (Phil Lord and Christopher Miller, 2012). A property ripe for adaptation is referred to as pre-sold ; older works in particular are attractive to film producers because they are often out of copyright ( see deal, the ).

Kuhn, A., & Westwell, G. (2020). " Adaptation ." In  A Dictionary of Film Studies . Oxford University Press. Retrieved 16 Feb. 2022

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Home > Student Scholarship and Organizations > Honors Scholars > Honors Theses, 1963-2015 > 710

Honors Theses, 1963-2015

From novel to film: the remains of the day and the art of adaptation.

Shirley S. Richardson , College of Saint Benedict/Saint John's University

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Chris Freeman

Both novelist and film-maker have stories to tell and both create a vision of their stories for their readers and viewers, one with words on a page, the other with pictures and spoken dialogue. A novel's descriptive passages may be very detailed or leave the reader with large visual gaps, whereas each frame of the film fills the viewer's vision with scrupulously attended images, from the props to the setting to the costumes to every gesture and expression of the actor. A novel allows the reader to pause, ponder, reread, and detect subtleties; a film takes the viewer by the hand at its own pace. But film, not being limited to the medium of language, also has the privilege of working with the media of vision, sound, lighting, set, and spatiality. The relationship between Kazuo Ishiguro's fine first-person narrative and the artistic Merchant Ivory film adaptation is especially fascinating to explore.

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Richardson, Shirley S., "From Novel to Film: The Remains of the Day and the Art of Adaptation" (1999). Honors Theses, 1963-2015 . 710. https://digitalcommons.csbsju.edu/honors_theses/710

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Adapting Novel into Film & Copyright

18 Pages Posted: 22 Jan 2020

Cameron J. Hutchison

University of Alberta - Faculty of Law

Date Written: July 25, 2012

The history of cinema is replete with adaptations of novels into film. Indeed, it seems that almost every movie made these days is based on a book. Beyond mere commercial opportunism, there is at least something about the film medium that lends itself to borrowing from literary sources. The significance of this topic for copyright scholars is that the cinematographic or “movie” right vests with the author of a book (what I will call the “adaptation right”). Where that right has been at issue, courts have struggled with developing a methodology for determining infringement. The enormously complex topic of assessing whether there has been a substantial taking from a textual medium for adaptation into a visual medium has been oversimplified both by legal “tests” for infringement and the manner which they are applied. The purpose of this short paper is to explore the topic from extra-legal disciplinary perspectives in an effort to highlight some of the shortcomings of the law in this area but also to embark on new ways of thinking about the adaptation right. This paper draws on a field known as “adaptation studies” which itself borrows liberally from literary criticism, film studies, art philosophy, and media studies. From debates within and across these fields, certain theories emerge which help to better understand the possibility of cinematic adaptation from literary sources (if indeed it is possible at all). We will begin with the counter intuitive idea that there is no essence to any given work that is available to be adapted to another medium (constructivism). A second school of thought argues that the differences between literature and cinema – the written word and the visual image – are too great for there to be anything approaching equivalency between the two media (adaptation skepticism). Next we consider the argument that what is adapted from book into film is a narrative structure that, in some respects but not others, is amenable to transfer to the film medium (structuralism). We will conclude with a brief look at the argument that reading and visualizing are inverse cognitive processes that might suggest the differences between the two media are overstated (cognitive equivalency). After a brief exploration of the law of the adaptation right, each of these four perspectives will be addressed. I ultimately side with the structuralist position and conclude that the legal test for infringement has much to gain from this analytical framework.

Keywords: copyright, movie, film, novel, book, adaptation, derivative rights

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Film Adaptation: The Case of Wuthering Heights

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To talk of “using” film adaptations of novels in order to teach literature will immediately raise the hackles of all film and television critics who quite justifiably choose to focus on these media for their own sake. One of the reasons that adaptation studies has enjoyed a fairly low status among film critics is, as John Ellis notes, its employment in literary departments to encourage “recalcitrant students … to read the original novel” (qtd. Cardwell, 2002, p. 37). Ira Konisberg’s entry on adaptation in The Complete Film Dictionary actually defines it as a “subliterary discourse” designed to show that “great novels” are resistant to filming (qtd. Griffith, 1997, p. 6). While recognizing the centrality of adaptation studies to “any history of culture” interested in “the transmission of texts and meanings in and across cultures,” Mirceia Aragay also deplores the way it is “often taught in literature departments as a way of sugaring the pill of (canonical) literature for an increasingly cinema-oriented student population” (2005, p. 30). Robert Ray is even more dismissive of the way in which the “same unproductive layman’s question (How does the film compare with the book?)” is transparently designed to elicit “the same unproductive answer (The book is better)” (2000, p. 44). That, of course, is not the model of such comparative study of novels with their adaptations which I want to advocate.

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Maunder, A., Phegley, J. (2010). Film Adaptation: The Case of Wuthering Heights . In: Maunder, A., Phegley, J. (eds) Teaching Nineteenth-Century Fiction. Teaching the New English. Palgrave Macmillan, London. https://doi.org/10.1057/9780230281264_11

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Home > College of Arts and Sciences > English > ENGLISH_THESES > 72

English Theses

Exploring the factory: analyzing the film adaptations of roald dahl's charlie and the chocolate factory.

Richard B. Davis , Georgia State University Follow

Date of Award

Degree type, degree name.

Master of Arts (MA)

First Advisor

Pearl McHaney - Chair

Second Advisor

Nancy Chase

Third Advisor

Calvin Thomas

Film adaptations are becoming more popular and past critics and scholars have discussed films based on dramas and novels. However, few have explored the children’s literature genre. In discussing such a topic, it takes more than just debating whether the novel or book is better. A discussion on what elements have been maintained, removed, or added in such an adaptation has to be made along with its success or failure. With this in mind, Roald Dahl’s 1964 novel, Charlie and the Chocolate Factory, and its two film adaptations will be explored along with an analysis of film adaptation theory to show that the first version of the novel succeeds and the second one fails.

https://doi.org/10.57709/1238497

Recommended Citation

Davis, Richard B., "Exploring the Factory: Analyzing the Film Adaptations of Roald Dahl's Charlie and the Chocolate Factory." Thesis, Georgia State University, 2009. doi: https://doi.org/10.57709/1238497

Since March 22, 2010

THE APPEAL OF LITERATURE-TO-FILM ADAPTATIONS Adaptation as interpretation

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This article explores basic constraints on the nature and appreciation of cinematic adaptations. An adaptation, it is argued, is a work that has been intentionally based on a source work and that faithfully and overtly imitates many of this source's characteristic features, while diverging from it in other respects. Comparisons between an adaptation and its source(s) are essential to the appreciation of adaptations as such. In spite of many adaptation theorists' claims to the contrary, some of the comparisons essential to the appreciation of adaptations as such pertain to various kinds of fidelity and to the ways in which similar types of artistic goals and problems are taken up in an adaptation and its source(s).

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What technique takes place when narratives expressed through the written words are transformed into the language of sound and moving pictures? The purpose of this paper is to discuss the interesting process of transforming a work of literature into film with the especial study of Alice Walker’s The Color Purple. Guide, Devdas, Angoor, ShatranjKeKhiladi, Maqbool, Omkara, 3 Idiot, these are famous film titles from the past years. They have one thing in common. All of them have literary sources; they are film adaptation of novels, drama or short –stories. But the term ‘adaptation’ is not a new phenomenon at all and not just a part of film studies. If we talk about intertextuality, we find that stories always seem to draw from other stories. Even the ancient Indian dramatist, poets like Kalidas, Tulsidas based their work in most cases on myths and stories that had already been told. Moreover the process of adaptation first came in literary studies when the reader started changing words into images. In other words, in literature this process takes place when a reader reads a text and starts to change or alter the words of the text into images in his mind. Thus the process of adaptation shows a relationship between words and images, and in cinematic world, it shows a relationship between a verbal text and a visual text. The term adaptation is sometime used as, transference, transformation and interpretation. But it is incorrect to use it in this sense because a film, based on a work, is not a transference or interpretation of the text but actually is an adaptation or alteration of a verbal text into a visual text. In other words, it is a making of a new text not an interpretation of the text.

Janki Bhatt

Elly Makari

This study deals with film adaptation theory in general and various hostilities that inform it as a reading and viewing process. The purpose of this study has been to deconstruct the preconceptions according to which Adaptation as a process has a host of arguments that inform as a way of reading and viewing filmic and novelistic aspects. Elements of film noir and neo noir have also found place in this research paper given that the primary sources belong to the genre. When it comes to the expansion strategies, this analysis includes its taxonomy and examples of how a short story can be transposed onto screen and some of the fallacies that hang around adaptation. Does adapting a text into a cinema or movie come with some effects? This is the central idea that informs this study, what is termed as hostilities. Thus I will be interested to show that as per Thoms Letch, Twelve Fallacies in Contemporary Adaptation Theory: Criticism, Volume 45, Number 2, Spring 2003, pp. 149-171 (Article), if really adaptation does exist and if it does, is it effective as it should be? Regarding the primary sources, Jonathan Nolan’s Memento Mori and Christopher Nolan’s Memento have proved useful and interesting alike. Other secondary sources include Linda Hutcheon’s theory on film adaptation, Desmond and Hawkes’s input on the matter, Stam and Raengo, Leitch Thomas and others. Keywords: film, literature, adaptation, hostilities Film: This is a series of moving pictures, usually shown in a cinema or on television and often telling a story, Cambridge Dictionaries.

Cambridge Academic Publishing

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What Makes a Quality Film Adaptation?

Posted by Julia Adams on 7/13/22 4:47 PM

**Note** Patrick Henry College does not officially endorse the following movie selections or the worldviews they represent.

When a film adaptation of a classic book arrives in theaters, people go to see it with their own idea of what the characters should look like, how they should behave, and what the setting should look like. However, many in the audience are disappointed.   While seeming to approve on the outside, your mind is racing with constant critiques of the stature of the protagonist, the visual representations of characters, the costuming, or even the reactions portrayed on the screen.

It can be difficult to balance the reality of your own imagination against the director’s creative license. Many struggle to keep the movie separate from the book, but it is important to do so to enjoy the cinematic experience. Dr. Cory Grewell, Professor of Literature, has some recommendations for good movie adaptations but also offers some principles to help you see the literary and creative value in those film adaptations.

What makes a quality adaptation? According to Grewell, a quality adaptation stands on its own. The film must depend on the book enough to claim the status of "adaptation,” while the director takes creative liberties to make his mark in the world of film.

For quality adaptations, Grewell recommends The Maltese Falcon , Lonesome Dove ,  O Brother Where Art Thou? , Apocalypse Now , and The  Lord of the Rings .

In Peter Jackson’s The  Lord of the Rings , Grewell thinks that Jackson had “the story in his back pocket... [while he] made his own work of art.” The Maltese Falcon is an excellent example of how a movie can stand on its own. The audience does not need to read the book first to understand the movie. O Brother Where Art Thou is a good adaptation of The Odyssey  because it follows the main plot points, even if it is in a different culture and millennia. Ap ocalypse Now is an R-rated movie based on the book Heart of Darkness,  which every freshman reads in Western Literature II . The story, instead of taking place in Africa, is based in Vietnam. The fight against wild Africa continues to permeate throughout the plot, upholding the integrity of the book. 

There are cases where actions in a book would not make sense to a modern audience. Grewell used  Love’s Labour’s Lost , a Shakespeare play brought to the big screen by Kenneth Branagh, as an example of this. In the play, the characters create bad sonnets when they find themselves falling in love. To an untuned ear or even a modern audience, the playwriter’s point is lost. Instead, Branagh made the characters sing show tunes, which are generally regarded as passe, sappy and silly, making the audience cringe, which was Shakespeare’s original point.

While directors should maintain some accountability to the overall plot, it is possible for a film to create what Grewell calls “imaginative dissonance” which makes it difficult for viewers to see the film as even following the original book.

The film adaptation of the Jack Reacher novels, featuring Tom Cruise as the title character, is an example of such "imaginative dissonance." According to Grewell, many in the audience left the theaters unsatisfied with the movie version of Reacher. Reacher is a big Marine, and Tom Cruise is not. While they tried various angles to make a visual allusion, it was not enough.

Grewell's  “Hermeneutics of Generosity"

For those who find it difficult to enjoy a film when there is imaginative dissonance or when the adaptation does not follow the plot exactly, Grewell suggested employing the concept he calls "Hermeneutics of Generosity." 

To truly enjoy an adaptation  of a film, you need to accept the film on its own terms. Try to avoid comparing it to the book. There is dynamic meaning (the perceived meaning from the reader’s perspective) and an imaginative reality (the reality the imagination constructs based on what the mind’s eye sees) that cannot be satisfied completely.

Grewell pointed out that each character has an existence that cannot be ignored. For example, when an author is writing a story and hits the backspace button saying, “No, that character wouldn’t do that,” he encounters such a reality. How does the author know what the character which he created, would or would not do? With the physical manifestation of the character on each page comes an assumption of the general path the character would take.

This concept in literature applies to film. Each person who plays a part in the production of a film has his own imaginative reality. It’s like having “more cooks involved in the soup,” said Grewell. Now, instead of having a writer, editor, publisher, and reader, there are actors, directors, screenplay writers, costume designers, and more, not including the viewer. In other words, it’s a transaction between parties, and sometimes the transaction on paper does not look the same in digital form.

Still, if it’s a quality adaptation, watching your favorite character come alive on the big screen is a wonderful experience.

Topics: literature , department of classical liberal arts , literature major , Filmmaking , Storytelling , Patrick Henry College , PatrickHenryCollege , LiberalArts , book , CLA , theater , fun

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Writing about Film Adaptations:

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