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of adaptations, here I am explaining you the remain points so please stay with
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The next points are given below:
4) Adaptation is a Process of Transposition,
Creation and Reception
There
are three dimensions to looking at adaptations: a) as a formal entity or a
product (transposition - shift of medium / genre), b) as a process of interpretation
and (re-) creation, or c) as a process of reception. Adaptation is
simultaneously a process and a product. Financially, it is better to produce an
adaptation of an original work, according to Hutcheon, because the original
work has already proven itself successful. Adapted works are popular among all
because they are “proven” and already have a culture and fan base that are
likely to be interested in the adaptation. However, literature has always been
inspiring filmmakers to make films. The reasons for film adaptations of
literary works are as follows. First,
there is the bestseller argument that the filmmaking is an expensive and very
risky business. But when the film is
based on some famous novel having good sale, then, there seems a guarantee that
the adaptation will be noticed by a number of people. One of the major reasons why films are based
on books is simply that the best story is often found between the covers of a
novel.
Adaptation may be seen as a product
or a process, the product oriented perspective treats it as a translation (in
various senses), or as a paraphrase. The product oriented perspective is
dependent on a particular interpretation. As a process, it is a combination of
imitation (mimesis) and creativity. Unsuccessful adaptations often fail
(commercially) due to a lack of creativity on behalf of the adapters. There is
a process of both imitating and creating something entirely new, but in order
to create a successful adaptation, one must make the text one’s own.
Thus, screen adaptation brings in
some changes retaining only the story or the idea. The writer’s job is over with the creation of
the work of art but it is the director’s part to enliven that fiction. Therefore,
according to the need of the story, he may add or delete some parts like songs,
scenes and dialogues including the role of the characters from major to minor
and vice versa. There may raise a question whether the work of art is superior
or its adaptations for the screen.
Actually, they are complementary to each other. Many times, a movie or serial is prepared on
a popular novel and it also gets popularity like the original novel. Many times, the director fails to achieve the
sublimity of the source and the movie proves to be a failure though the novel
is great. However, a novel gets
popularity when it is screened and as a result of the popularity of the movie,
the concerned novel suddenly comes into limelight. Basically, screen adaptation, a sort of
translation of the literary text into a different medium, is a recreation of
the text of the director’s point of view.
5)
Is Adaptation a Secondary or Derivative Art?
Nevertheless, in both academic criticism
and journalistic reviewing, contemporary popular adaptations are most often put
down as secondary and derivative. Naremore, a film critic, scholar of English and Comparative Literature
at Indiana University, enumerated that adaptation is “belated,
middlebrow, or culturally inferior”. Hutcheon looks at adaptations as a
secondary work from the original. Adaptation always exists in a secondary
relationship with the original, but despite their supposed inferiority,
adaptations are universal. Adaptations have dominated their own media. The most
heavily awarded films are adaptations. Hutcheon suggests that the pleasure of
adaptation from the perspective of the consumer comes from a simple repetition of a beloved story
with variation.
6) Fidelity and Adaptation
Besides,
the fidelity in adaptation is very crucial requirement in the process of
creativity. Popular classical works, may
be dramas or novels, have been well-known to the people. The film director must remain fidel to the
literary art. For the sake of increasing
impact on the viewers, the film director sometimes has to deviate from the
original story, plot, message or the character.
This is normally done either by addition or by deletion of the old ideas
about the incidents. In this respect, R.
K. Narayan’s novel The Guide (1958)
is basically set in the South Indian atmosphere in a fictitious town
Malgudi. Dev Anand produced a Hindi film
Guide (1965) on the novel. The film Guide
was directed by Vijay Anand who set the entire film in Udaipur and North
Indian places. However, the end of the
movie does not resemble to its original source.
The protagonist’s death presented in the film brings a sort of reward
for the villagers. Vijay Anand has
always maintained that he was never interested in merely copying any work of
art from one medium to another unless there was scope for value addition and to
be fair to him. He has transformed Guide into a rich and unforgettable
cinematic experience. In fact, he has
deviated it from the original novel.
However, his film can also be treated as an important creative art. It meant the films based on literary works
must be judged primarily on the basis of whether they are faithful to nearly
all of their storyline and mood of the book. The issues of fidelity can overlook
the probabilities of witnessing cinematic adaptations as intertextual
works. Moreover, the film represents the
filmmaker’s subjective understanding of the literary source.
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