Adaptation: Essence, Originality and Radical Transformation

Nash, M

Adaptation: Essence, Originality and Radical Transformation

Nash, M

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Publisher:: Palgrave Macmillan
Publication Type:: Chapter
Citation:: Creative Writing Practice Reflections on Form and Process, 2021, pp. 83-100
Issue Date:: 2021-11-13

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Field	Value	Language
dc.contributor.author	Nash, M https://orcid.org/0000-0003-4814-345X
dc.date.accessioned	2021-11-03T01:51:28Z
dc.date.available	2021-11-03T01:51:28Z
dc.date.issued	2021-11-13
dc.identifier.citation	Creative Writing Practice Reflections on Form and Process, 2021, pp. 83-100
dc.identifier.isbn	3030736733
dc.identifier.isbn	9783030736736
dc.identifier.uri	http://hdl.handle.net/10453/151322
dc.description.abstract	This chapter explores ‘essence’ and ‘originality’ in screenwriting adaptation practice. It investigates the ‘translation’ of a source text into a new form and argues for creativity and risk-taking in order to produce original work. Case studies examine decisions made by screenwriters to move away from a source text and make the story their own. Greta Gerwig’s reframing of Little Women (2019, motion picture, Sony Pictures Releasing, United States) meant changing the structure and the ending. Kelly Reichardt adapted three unconnected short stories into Certain Women (2016, motion picture, IFC Films, United States). Rainer Werner Fassbinder radically transformed Douglas Sirk’s Hollywood melodrama All That Heaven Allows (1955, motion picture, Universal Pictures, United States) into Fear Eats the Soul (1974, motion picture, Filmverlag der Autoren GmbH & Co. Vertriebs KG, West Germany), and Todd Haynes was inspired by both films to create Far from Heaven (Haynes, 2002, motion picture, Focus Features, United States), which referenced both films and paid homage to Sirk and Fassbinder.
dc.format.extent	16
dc.language	en
dc.publisher	Palgrave Macmillan
dc.relation.ispartof	Creative Writing Practice Reflections on Form and Process
dc.relation.isbasedon	10.1007/978-3-030-73674-3_6
dc.rights	info:eu-repo/semantics/closedAccess
dc.title	Adaptation: Essence, Originality and Radical Transformation
dc.type	Chapter
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/School of Communication
utslib.copyright.status	closed_access	*
pubs.consider-herdc	false
dc.date.updated	2021-11-03T01:51:27Z
pubs.place-of-publication	UK
pubs.publication-status	Published
dc.location	UK

Abstract:

This chapter explores ‘essence’ and ‘originality’ in screenwriting adaptation practice. It investigates the ‘translation’ of a source text into a new form and argues for creativity and risk-taking in order to produce original work. Case studies examine decisions made by screenwriters to move away from a source text and make the story their own. Greta Gerwig’s reframing of Little Women (2019, motion picture, Sony Pictures Releasing, United States) meant changing the structure and the ending. Kelly Reichardt adapted three unconnected short stories into Certain Women (2016, motion picture, IFC Films, United States). Rainer Werner Fassbinder radically transformed Douglas Sirk’s Hollywood melodrama All That Heaven Allows (1955, motion picture, Universal Pictures, United States) into Fear Eats the Soul (1974, motion picture, Filmverlag der Autoren GmbH & Co. Vertriebs KG, West Germany), and Todd Haynes was inspired by both films to create Far from Heaven (Haynes, 2002, motion picture, Focus Features, United States), which referenced both films and paid homage to Sirk and Fassbinder.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/151322