Horizontal intertextuality denotes references that are on the 'same level' i.e. I think that intertextuality is when a work is completely original with pieces of other texts tied in at certain times, whereas an adaptation’s base is something that has already been told or created. Caption. Intertextuality can be shown through allusions, quotations, and objects in a piece of work or text. ( Log Out / My aim here is to examine more closely this specific relation between intertextuality and self-consciousness, a connection which is neither automatic nor self-evident, and to investigate the meaning this relation may take in the context of adaptation, regarding Joe Wright’s film version of Atonement. Approaching a text with intertextuality is … Change ), You are commenting using your Twitter account. Intertextuality, on the other hand, uses the reference of … In the intertextuality video there was a reference to the film “Fantastic Beasts and Where to Find Them” as Mr. Scamander was making his suitcase appear “muggle worthy.” Since the Harry Potter series was so popular and the film has the same magical aspect to it, the audience most likely knows that “muggles” are normal human people. But today, there’s a new intertextuality coming about in the moviemaking system, and that’s the basis behind this six-minute video essay, as seen above. Flashbacks, character crossovers, etc. A film doesn’t need to be an adaptation to have aspects of intertextuality. An adaptation is meant to tell roughly the same story and meaning while intertextuality presents a new perspective of the story and likely a different meaning. However, Genette's classification of metatextuality was more specifically a description of the implicit interrogation of one text by another, as a result of the 'textual transcendence of the text', with one speaking of another 'without necessarily citing it…sometimes without even naming it ' (1982:1, 4 These convening metatextual pressures recall Stam's 'endless permutations of textual traces', creating a … In order to be an adaptation, there needs to be at least a few corresponding plot points (although they may be only vaguely related). Intertextuality is simply referencing a preexisting work in another unrelated new work in order to achieve connections and understanding in the new work by comparing the two. Intertextuality involves references from other works that may not play a large part in the main story. Intertextuality is a way in which we can perceive adaptations. It’s how language works. POMP(OUS) SIRK-UMSTANCE: INTERTEXTUALITY, ADAPTATION, AND ALL THAT HEAVEN ALLOWS WALTER C. METZ In "The Melodramatic Field: An Investi gation," Christine Gledhill exposes the problems that result because film scholars attend to melodrama only after privileging Douglas Sirk as a modernist, Brechtian auteur capable of transforming the lachry This essay revisits Karel Reisz’s 1981 film adaptation of John Fowles’s The French Lieutenant’s Woman (1969) through the shift in film adaptation studies from fidelity criticism to Robert Stam’s notion of adaptation as intertextual dialogism, which draws on Roland Barthes’s theories of text and intertextuality and Julia Kristeva’s dialogic model of intertextuality. One such example of intertextuality is the movie “Clueless” which is in reference to Jane Austen’s novel Emma. I think that adaptation is a form of intertextuality. Film Adaptation in the Hollywood Studio Era. Translation theory advances thinking about film adaptation by enabling a more rigorous critical methodology. This can come in many forms, with one of those forms being an adaptation. Film adaptation should rather be perceived as an intertextual practice, contributing to a dynamic interpretive exchange between the literary and cinematic texts, an exchange in which each text can be enriched, modified or subverted. I think intertextuality calls on people to have emotional responses to something or someone that they are familiar with, while adaptations seek to rework or retell the story in a new frame or format. Remember we start Mansfield Park this week. We’ll discuss those examples in class this week. Nicole, This comment is too late. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. University of Delaware, USA. multimodal world of Hugo Cabret—the hybrid graphic novel, the film adaptation, and the novel’s official website—in an effort to better understand how intertextuality, convergence culture, and remediation play with media forms, represent an ideological shift toward participatory culture, and rework older, traditional media in the creation of The oldest example of intertextuality is New Testament that quotes or cites from the Old Testament. That the content and style of Marivaux, rather than Maroh, informs the film’s first act is evidence of the film’s complex intertextuality. Adaptation, Intertextuality, and Fidelity. Thus, there is a reference to concepts mentioned in the Harry Potter series but “Fantastic Beasts and Where to Find Them” is not an adaptation of the Harry Potter films as they are completely different. Thomas Leitch. : Mireia Aragay. Adaption calls for a new world completely to be made that was based on another world. Intertextuality is when a story shares aspects with another and therefore intertwines itself with it. Download Citation | Postmodern adaptation: Pastiche, intertextuality and re-functioning | Average film-goers probably take more notice of a film’s stars than of its director. Change ), You are commenting using your Google account. The course emphasizes discussion on a broad range of narratives and uses comparative methods to understandhow these stories change. I think intertextuality is more about crossovers between different works. Rodopi, 2005 - Performing Arts - 289 pages. I think that intertextuality is a connection between different pieces of literature such as the same character appearing in multiple connected movies while adaptation is a recreation of a piece of literature maintaining only a few key aspects. While adaptation focuses on the creation of something new based off of something well known, intertextuality tends to use an element or symbol from another work in order to draw a clearer meaning for the new creation. The alterations are due to a number of factors, including the difference in media, the number of individuals working on the production, and those viewing the film, or even time periods. Intertextuality focuses more on symbolism and the viewer’s emotional response to the symbol, while adaptations focus on showing/telling a known story/novel in another way regardless of emotional response. However, intertextuality is different from adaptation because an adaptation expresses and acknowledges the influence of another work in a much more encompassing way. It is a great way to add substance and meaning to a film or any piece of Art/Literature. I feel that intertextuality differentiates with adaptation because it just deals with the text only. The relation between such second-order creations and their source materials is not communicative but hermeneutic, depending on the translator's or filmmaker's application of … Adaptation is the remodeling and reworking of a text to convey something that the original or prior work did not. Intertextuality is how texts and films are connected or related to each other. In Film Adaptation and Its Discontents: From “Gone with the Wind” to “The Passion of Christ,” Thomas Leitch identifies a split between adaptation theory and film studies. The History of Hong Kong Comics in Film Adaptations: An Accidental Legacy Wendy Siuyi Wong; Roads Not Taken in Hollywood’s Comic Book Movie Industry: Popeye, Dick Tracy, and Hulk Dan Hassler-Forest; Adaptation XXX I. Q. would fall under the intertextuality. Hope you spent the weekend making headway on the novel. Intertextuality is a literary device used by authors to draw on text from other works to retell or tell a new story. when books make references to other books, whereas vertical intertextuality is found when, say, a book makes a reference to film or song or vice versa. Books in Motion addresses the hybrid, interstitial field of film adaptation. Texts that might be examined in this course include films, video games, television shows, novels, comics/graphic novels, operas, and musicals. Or in the case of the use of the psuedo “Gus Chase” it can do a lot against it. Intertextuality is how texts and films are connected or related to each other. Proponents of poststructuralist conceptions of intertextuality see adaptation as a process which finds the adapter’s reading being shaped into a new text that invokes the earlier one as a referent. It is not just influence or source but intertextuality in films is a mixture of all genres, discourses and art. Those critical of this line of thinking, by contrast, suggest that a text’s meaning is fixed, and that the role of the adapter is to identify and carry that meaning across the borders of media as faithfully as possible. Adaptations are bodies of work separated from its actual source that have undergone various steps of reconstruction to complement the new mediums that they would get involved with. It is how it was always informed. Film Adaptation is an intertextual process effected by many economic and practical factors instead of ideals of fidelity, and has been that way from the start. In fact, the form that a film/poem/song assumes is intertextuality. Adaptations may and are likely to include intertextuality but don’t necessarily need to do so if the author of the adaptation does not view this as necessary. The latter, he explains, judges filmic adaptations of literary texts in terms of their “fidelity” to the literature that they adapt, privileging book over film … Intertextuality can be shown through allusions, quotations, and objects in a piece of work or text. I’m acknowledged the references like those made in Family guy etc but I never go beyond that. An adaptation, on the other hand, contains a story from another location which may bring up the original text in mind but it creates new images and feelings around the story. It is about an ogre, Shrek, who marries Princess Fiona, who turns out to be an ogre too, and describes their adventures with their best friend, a … However, adaptations look at the story as a whole. I have seen this many times mostly in movies and tv shows but i’ve never really paid much attention. Whereas, intertextuality is taking a book’s or film’s ideas, altering them, and making something completely new out of it. “Adaptation, Intertextuality, and Fidelity” examines why we continue to tell the same stories by focusing on the texts and adaptations of Robinson Crusoe (1719), Jane Eyre (1847),andFrankenstein (1818). Such factors are the especial focus of intertextuality theory. Intertexuality allows one to identify connections between works of different mediums, while adaptations takes the work from one medium and re-works/re-creates it so that the principle is the same, but certain aspects are different. For example, a film can reference another popular film but that doesn’t mean that the films are related. Intertextuality is meant to connect two works of literature while adaptations put new spins on other pieces of literature or characters. Using intertextuality as a literary device is a way for authors/creators/etc to influence the audience and bring them to think a certain way about an event or character due to what it is being compared to. As the text states, adaptation is a form of intertextuality. Intertextuality is referring to the original piece whereas adaptation is a recreation of the piece. Adaptation is keeping the core characters/story in a preexisting work in order to retell the story or tell the story in a different way. The time is ripe for a re-evaluation of this creative mode from the perspective of our cognate disciplines. Although it relates to movies in these cases, the device is as old as storytelling itself. Overall, the paper proposes that Shahrzad is a palimpsestuous hive of intertextuality. 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