Sumários

Student presentation on the Stevenson adaptation of Jane Eyre + Listening Comp

2 Dezembro 2019, 14:00 • Cecília Maria Beecher Martins

Student presentation on the Stevenson adaptation of Jane Eyre +

Listening Comprehension exercise to J.K.Rowling's Commencement Speech delivered at Harvard University in 2008. 

Began screening of Franco Zefirreli's 1996 version of Jane Eyre

27 Novembro 2019, 14:00 • Cecília Maria Beecher Martins

Began screening of Franco Zefirreli's 1996 version of Jane Eyre


Discussion of some of the adaptation techniques used

Adaptation from literature to film.

25 Novembro 2019, 14:00 • Cecília Maria Beecher Martins

Finished the screening of Stephenson's Jane Eyre. 
Presented some of the theories on adaptation: 

De Witt Bodeen: “Adapting literary works to film is, without a doubt, a creative undertaking, but the task requires a kind of selective interpretation, along with the ability to recreate and sustain an established mood”.DeWitt Bodeen, "'The Adapting Art'", Films in Review, 14/6 (June-July 1963), 349.

Christopher Orr: 'Within this critical context [i.e. of intertextuality], the issue is not whether the adapted film is faithful to its source, but rather how the choice of a specific source and how the approach to that source serve the film's ideology.” Christopher Orr, "'The Discourse on Adaptation'", Wide Angle, 6/2 (1984).

Michael Klein and Gillian Parker make the following suggestions on different forms of intertextual fidelity/infedility:

a.fidelity to the main thrust of the narrative, even if the medium of telling the story is different and there are some reductions in the story but the central thrust is the same b.retains the core of the structure of the narrative while significantly reinterpreting or, in some cases, deconstructing the source text; c.the source merely as raw material, as simply the occasion for an original work. Michael Klein and Gillian Parker The English Novel and the Movies,1982.
Adaption Operations: Subtraction : The principle of subtraction is what invites us to consider what (and why) certain elements (characters, events, places, dialogues, reflections and so on) are in the ‘literary work’, but do not appear in the film. Addition: it involves the addition, in the film, of episodes, characters or details which are not present in the source text.
Condensation: elements of the source text are present in the film, but in a reduced form. This may refer to isolated instances or imply producing “composite” characters or events  
Expansion: emphasizes specific elements of the novel by expanding them in the film. This may be achieved by giving more time to a specific scene, or using the multimedia effects of film (mise-en-scene, sound, dialogue, framing options) in  a concentrated fashion to draw attention to a specific event. 

Screening of Stephenson's 1944 version of Jane Eyre

20 Novembro 2019, 14:00 • Cecília Maria Beecher Martins

Discussion of how watching film through different media (movie theatre, streaming, dvd, etc) can affect the expierence of interaction with film. Used the text in course book "Is film dead?" as a basis for this discussion.

Began screening of Stephenson's 1944 version of Jane Eyre  - discussed some of the differences between film and book. 

Student presentation on Wide Sargasso Sea

18 Novembro 2019, 14:00 • Cecília Maria Beecher Martins

 Student presentation on Wide Sargasso Sea