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1

Ponadstuletnie sąsiedztwo

100%

Pławuszewski P.

Kwartalnik Filmowy

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2014

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issue 87-88

297-302

PL

Recenzja książki Marka Hendrykowskiego „Współczesna adaptacja filmowa” (2014). Recenzent przywołuje najważniejsze jej tezy i spostrzeżenia, zachowując porządek odpowiadający układowi wspomnianej publikacji (podzielonej na trzy rozbudowane części). W pierwszej kolejności Pławuszewski koncentruje się na ustaleniach historycznofilmowych badacza (tu m.in. o zmiennych na przestrzeni dekad modelach adaptatora), następnie omawia wybrane kwestie teoretyczne uobecnione w pracy Hendrykowskiego (mowa choćby o siedmiu mechanizmach adaptacyjnych), by ostatecznie pochylić się nad tą częścią publikacji, która kładzie nacisk na tytułową „współczesność” teorii i praktyki adaptacyjnej (ze szczególnym uwzględnieniem sytuacji krajowej, dalekiej – według autora recenzowanej książki – od stanu pożądanego).

EN

A review of Marek Hendrykowski’s book “Współczesna adaptacja filmowa” [“Contemporary Film Adaptation”] (2014). The reviewer lists the most important arguments and insights of the book in the order they appear in the volume (which is organised in three parts). First of all Pławuszewski focuses on the findings of the author related to the history of film (for example on the changing models of film adaptations), then he discusses selected elements of theoretical discussion present in Hendrykowski’s work (e.g. seven mechanisms of adaptation), and then considers the part of the book which focuses on the “contemporary” theory and adaptation practice (with a focus on the situation in Poland, which is far, according to Hendrykowski, from the ideal).

2

The Case of Neo-Victorian Demotions: Colonel Sebastian Moran on Screen

100%

Krawczyk-Żywko L.

Acta Philologica

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2014

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issue 45

43-49

PL

Artykuł omawia współczesne adaptacje postaci pułkownika Sebastiana Morana, współpracownika profesora Moriarty’ego, arcyłotra z tekstów o Sherlocku Holmesie. Podczas gdy Doyle przedstawił go jako przyjaciela i prawą rękę profesora („Pusty dom”), neowiktoriańskie wersje filmowe i telewizyjne redukują jego rolę do najemnego zabójcy (Sherlock Holmes. Gra cieni), pionka w grze swego zleceniodawcy (Elementary), a nawet prezentują jego „rozproszoną” wersję (Sherlock, serie 1–3). Powodem może być fakt, że istotnym elementem neowiktoriańskich adaptacji i nawiązań jest rozwijanie kobiecych postaci drugoplanowych, które dodatkowo często przejmują cechy męskich bohaterów. Nie bez znaczenia jest też fakt, że w przeciwieństwie do Moriarty’ego czy Irene Adler, u Doyle’a Moran został „przejrzany” przez Holmesa i oddany w ręce policji.

3

Adaptacja filmowa jako przykład zjawiska intermedialności

80%

Ogonowska A.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2013

|

issue 5

113-127

EN

The paper considers the problem of adapting literary works in the context of the intermediality phenomenon. The author examines the significance of the latter category, considers the movie as an example of an intermedial text and shows the consequences of ‘translation’ of literature to other media and media transmissions. Intermediality, in the opinion of the author, is a part of the nature of the modern media market, to a large extent shaped by the specific needs of consumers.

4

The Seventh Seal on the Czech stage

80%

Stehlíková E.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2019

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vol. 22

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issue 1

61-75

EN

Whatever might be the reason for the theatre taking so much inspiration from film in the 21st century, the fact remains that the work of Ingmar Bergman is inspiring for theatre-makers all over the world. In this article, I briefly focus on three Czech productions of The Seventh Seal; namely a performance by the students of the Prague Conservatory which was put on under the title Wood Painting in 1995; a production by the independent student group Oldstars of 2011 and finally the only production on a professional stage, in the National Theatre in Brno in 2013, which is also recorded in the Swedish database. I also draw the reader's attention to special productions inspired by some motifs of Bergman's Seventh Seal. These, however, set the story in the present (In a Dark House in the Middle of the Night in 2006) from the now defunct Seven and a Half Theatre (Divadlo Sedm a půl), and Persons produced by the Theatre on the Balustrade in 2018.

5

Русская классика на киноэкране: в поисках художественного смысла (Катерина Измайлова Н. С. Лескова в киноверсии Р. Балаяна)

80%

Ситникова В., Государственный институт русского языка им. А. С. Пушкина Ф. р. ф.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2014

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vol. 07

EN

The paper tackles the problem of trivialization in a screen adaptation, taking as an example Nikolai Leskov’s sketch ‘The Lady Macbeth of Mtsensk’ and Roman Balayan’s 1989 film based on it. The author focuses on biblical contexts and contrasts the tone of the ending in the text with that on screen: while the literary Katerina remains unable to repent and ready to murder, the scenery toward the end of the film is surprisingly serene. In particular, the director’s treatment of the motif of ringing bells (symbolizing man’s separation from God) reveals an ideological difference between Balayan and Leskov. The author finds Balayan’s version more of a love drama than a tragedy of the death of a human soul. The film, she claims, even if not essentially distorting the meaning of the sketch, downplays and impoverishes Leskov’s semantic palette and simplifies the complex character created by the writer.

6

Berlin i Niemcy w dwóch adaptacjach filmowych powieści Alfreda Döblina Berlin Alexanderplatz

80%

Nowakowski J.

Poznańskie Studia Polonistyczne. Seria Literacka

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2023

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issue 44

49-68

EN

The subject of this paper is the image of Berlin and Germany that emerges from two film adaptations of the novel Berlin Alexanderplatz. The first one, a 1980 TV series by Rainer Werner Fassbinder, closely follows the letter and spirit of the original 1929 novel; we see a faithful recreation of the material world and the mindset of German society in the final years of the Weimar Republic. In the second one, a 2021 cinema production by Burhan Qurbani, the plot is modernised. The main context of the film is the plight of refugees and economic migrants in contemporary Germany and the problems portrayed are linked to issues of race and post-colonialism.

7

„…jeżeli był młyn w Niałku, był młynarz w Niałku…” Wypowiedź Teodora Parnickiego dla Stefana Szlachtycza

71%

Gorliński-Kucik P.

Śląskie Studia Polonistyczne

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2017

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vol. 9

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issue 1

235-250

EN

This research paper encompasses a commentary and a transcript of Stefan Szlachtycz interview with Teodor Parnicki (1908–1988) – an outstanding historical novel writer. During this 20-minute-long conversation Stefan Szlachtycz – a director of a movie based on Parnicki’s novel Tylko Beatrycze (1975) – asks the writer about narrative complexities and historical references. Parnicki’s answers are of a great value for literary studies as he presents his train of thought and intellectual horizons; he also unveils some aspects of his literary practices. This interview indicates the reasons why Parnicki’s novels are so complicated, multithreaded and improbable from the historical point of view.

8

Approaches to the History of the American Civil War in Margaret Mitchell’s Gone With the Wind and its Film Adaptation by Victor Fleming

70%

Jarosz A.

Academic Journal of Modern Philology

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2013

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vol. 2

27-38

EN

Gone With the Wind, a bestseller written in 1936 by Margaret Mitchell is a novel and unique chronicle narrating the events of the American Civil War and the Reconstruction Period, presented from the Southern point of view. The novel and its film adaptation by Victor Fleming are two American masterpieces and both have been objects of numerous research. However, the film seems to have overshadowed the book, as not much research has been done on the latter so far. Although historical information gathered by the author happens to be amazingly abundant and accurate, the novel has been neglected in the field of historical novels. While the novel constitutes (almost a personal) representation of the Civil War era seen by Margaret Mitchell, told from the point of view of a Southerner, the film omits numerous historical details and interprets some of them individually, making it an adaptation of the novel, and not of the history. As a result, the film can be seen as a performance within a performance. Alterations of the historical information presented by the filmmakers could be the result of censorship or lack of recognition of the sensitivity towards understanding the war. In other cases, it could be the result of a deliberate artistic action in order to make the content of the film more melodramatic. The task of adapting the novel of a thousand pages in a film was complex and resulted in a limitation of the content that was to be transferred. Therefore, the film makers chose to limit the historical information. The film centers on the protagonist, Scarlett O’Hara and does not represent the War. In fact, the war only constitutes the background for the plot presented. The film omits and limits some information, which sounds very logical considering the dense form of the novel. The aim of this work is to compare the official historical version of the American Civil War recognized to be “reliable” by historians with its literary and film adaptations and investigate the refl ection of the war in both.

9

Time Travelling with Jack the Ripper on Page and Screen

70%

Krawczyk-Zywko L.

Anglica. An International Journal of English Studies

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2017

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issue 26/1

207-220

XX

The article discusses time-travelling Jack the Ripper narratives, the majority being short stories and episodes of TV series. Despite their diff erent temporal foci – late-Victorian past, present, distant future – the texts revolve around four ways of depicting the mysterious murderer: as a timeless force, a killer who uses time travel to escape, a killer whose deeds are to be prevented, and, last but not least, a tool in the hands of future generations. They also indicate that creators and consumers of popular culture are not interested in discovering the Ripper’s identity as much as want to follow him through centuries.

10

The Gaze of the Spectral Setting in the 1968 BBC Adaptation of M. R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”

70%

Mydla J., Keithline A.

Avant

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2017

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vol. 8

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issue 2

EN

This article is a study devoted to the BBC adaptation of a ghost story by Montague Rhodes James, “Oh, Whistle and I’ll Come to You, My Lad.” The ideas of the spectral gaze and sympathetic spectreship are used to submit that in the film the setting itself is the spectre, with which/whom the viewer is invited to identify. This rearrangement-in comparison with the situation in the original story-casts the spectral setting both in the role of the haunting presence and the victim of an otherworldly (human) intrusion. A detailed analysis of the use of the camera supports the argument.

11

The Gaze of the Spectral Setting in the 1968 BBC Adaptation of M. R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”

70%

Mydla J., Keithline A.

Avant

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2017

|

vol. 8

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issue 2

EN

This article is a study devoted to the BBC adaptation of a ghost story by Montague Rhodes James, “Oh, Whistle and I’ll Come to You, My Lad.” The ideas of the spectral gaze and sympathetic spectreship are used to submit that in the film the setting itself is the spectre, with which/whom the viewer is invited to identify. This rearrangement-in comparison with the situation in the original story-casts the spectral setting both in the role of the haunting presence and the victim of an otherworldly (human) intrusion. A detailed analysis of the use of the camera supports the argument.

12

About Adapting Conrad’s Prose to Film

70%

Skolik J.

Yearbook of Conrad Studies

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2019

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vol. 14

93-107

EN

On the example of Apocalypse Now by F. F. Coppola, Heart of Darkness by N. Roeg, The Duellists by R. Scott, The Shadow Line by A. Wajda, and Secret Sharer by P. Fudakowski, I would like to show that Joseph Conrad’s prose is a cinematic trap for film directors. This being so, I attempt to answer the question as to why it is so difficult to make a film of something that is so cinematic, when it is being read, and why film adaptations that closely follow Conrad’s narratives are less Conradian than films which are “merely” inspired by Conrad’s works.

13

Bella signora dai capelli turchini czy może o kruczoczarnych włosach – przekład nazw własnych w polskiej wersji dubbingowej Pinocchia Roberta Benigniego

70%

Król-Gierat W.

Między Oryginałem a Przekładem

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2014

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vol. 23

125-141

EN

The translation of proper names depends to a great extent on cultural marking, on the specific connotations they may evoke. The role played by each character is also important in films targeted mainly at children. The present article is an analysis of the translation of anthroponyms and toponyms in the Polish dubbed version of Roberto Benigni’s Pinocchio. This film adaptation is a perfect example of a living myth whose original colour is getting blurred.

14

Women And Visual Representations Of Space In Two Chinese Film Adaptations OfHamlet

70%

CHEANG W. F.

Gender Studies

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2014

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vol. 13

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issue 1

1-21

EN

This paper studies two Chinese film adaptations of Shakespeare’s Hamlet, Xiaogang Feng’s The Banquet (2006) and Sherwood Hu’s Prince of the Himalayas (2006), by focusing on their visual representations of spaces allotted to women. Its thesis is that even though on the original Shakespearean stage details of various spaces might not be as vividly represented as in modern film productions, spaces are still crucial dramatic elements imbued with powerful significations. By analyzing the two Chinese film adaptations alongside the original Hamlet text, the paper attempts to reinterpret their different representations of spaces in relation to their different historical-cultural gender notions.

15

„14 bajek z królestwa Lailonii Leszka Kołakowskiego” w praktyce edukacyjnej

70%

Zamojski J.

Kultura-Społeczeństwo-Edukacja

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2016

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vol. 9

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issue 1

57-67

EN

14 Tales from the Kingdom of Lailonia by Leszek Kołakowski is a series of animated films. The author of the publication is the originator of the adaptation and the script writer. The text focuses on the author’s use of the films in the teaching of philosophy and aesthetics at the University of Medical Science in Poznań and in the promotion of philosophy via institutions of science and culture. On the one hand, the films provide some general knowledge about philosophy, as when writing the scripts the author was inspired by notions and figures from the history of philosophy, suggesting their use in the imagery used in the films. On the other hand, the films disseminate knowledge about the philosophy of Leszek Kołakowski, e.g. by a comparative analysis of the films and their literary bases and the philosophical texts by the author of Tales from the Kingdom of Lailonia. They have also been used in inter-cultural dialogue (e.g. in Tokyo, in a program accompanying the Polish Presidency in the European Union). Other teaching measures include the author’s published texts concerning various aspects of this adaptation.

16

A tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann

61%

Śliwińska A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2019

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vol. 26

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issue 35

219-229

PL

This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.

17

Poetyka intersemiotyczna a dydaktyka literatury

61%

Grodecka A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2017

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vol. 5

48-61

PL

Intersemiotic poetics and teaching literature The article is devoted to intersemiotic poetics derived from the theory of translation, that is the principle of translation described by Roman Jakobson (the interpretation of linguistic signs by means of non-verbal signs). From the reconstruction of research stances, changes in the concepts of the mind, and a new understanding of the processes of perception and metaphor, the Author relates the mechanisms of intersemiotic translation to borderline forms (ekphrasis and audio description) and the principles of teaching. By analyzing selected examples (Jacek Kaczmarski’s ekphrasis and editorial notes to Wisława Szymborska’s poem Utopia), she proves that after rejecting the principles of equivalence and similarity, while simultaneously maintaining the principle of causality, one may look for affinities in deeper semantic layers (amplification, addition) or engage in teaching literature, where intellectual precision is related to the shaping of emotions and skills involved in the multisensual reading of cultural texts.

18

Philosophical Meta-Story about The Little Prince as a Synergy of Book and Film Industries: On the Possibilities of Film Adaptation of Literature for Children and Youth

61%

Rusňáková L., Kopecká Z.

Communication Today

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2022

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vol. 13

|

issue 1

74-91

EN

The present study explores the ways in which children’s and young adult literature is adapted to film, as these stories allow the autonomous world of childhood, distinctly different from the adult perspective, to emerge. At the same time, however, literary testimony presented through children’s perception and interpretation of reality can bring contemporary social or existential problems closer to the adult reader through imagery accessible to people of all ages. A representative result of the confrontation of the children’s and the adult world is also the literary work of the French writer Antoine de Saint-Exupéry, originally intended for children. The depth and topicality of the philosophical fairy tale The Little Prince (originally in French, Le Petit Prince, first published in 1943) lie in the fact that it is one of the world’s most translated fairy tales, which has been the basis for numerous dramatic adaptations, re-editions and film adaptations. The main aim of the study is, therefore, to clarify the way the philosophical metanarrative of The Little Prince is expressed in the literary source and in the audiovisual film of the same name, The Little Prince (Le Petit Prince, 2015, directed by Mark Osborne). In order to achieve this goal, we apply a narrative analysis of both research materials based on analytical categories defined in the methodological section of the study. The identification and subsequent comparison of the chosen analytical categories is the starting point for determining the mode of filmic adaptation of the literary subject matter. The categorisation of film adaptations of literary works according to L. Giannetti and T. Leitch becomes the focus. Within the theoretical delineation of the issue under discussion, we point to its interdisciplinary character (the ‘intermingling’ of media and communication studies, literary criticism, but also media philosophy, film studies and other related disciplines), emphasising the cultural overlap of the philosophical metatheory of The Little Prince. This timelessness opens up space for further research into the possibilities of the story’s cinematic adaptations and interpretative planes. Characteristic logical-conceptual procedures are employed to achieve the stated aims.

19

Does the quality of interlingual translation influence the quality of the intersemiotic translation? On the English language film adaptations of S. Lem's The Futurological Congress and Solaris in the light of their translations into English

61%

Majcher A.

Journal of Language and Cultural Education

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2015

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vol. 3

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issue 3

144-151

EN

The aim of this paper is to compare two English language film adaptations (by Steven Soderbergh and Ari Folman) with each other and with the books they are based on. Stanisław Lem’s novels - The Futurological Congress and Solaris - were translated into English and the directors of the films mentioned above were able to work with them. However, while one translation was appreciated by many, including the author of the original, the other one did not get much credit and features many inaccuracies, which will be presented below. The question of how much the quality of translation influences the intersemiotic translation, which adaptation is believed to be, will be examined in the paper. As, according to translation scholars, preliminary interpretation is vital for any translations, it seems justified to state that without being able to refer to the author’s original thoughts the film-makers cannot produce a good adaptation. This will be revised on the basis of comparing examples from the books and films. The analysis will be drawn on an account of translation and film adaptation theories together with the outlining of cultural background for each work.

20

Fear in Tsarist Times. (Lost) Horror Movies of the Russian Empire

61%

Cybulski M.

Slavia Orientalis

|

2022

|

vol. LXXI

|

issue 2

Refine search results

Ponadstuletnie sąsiedztwo

The Case of Neo-Victorian Demotions: Colonel Sebastian Moran on Screen

Adaptacja filmowa jako przykład zjawiska intermedialności

The Seventh Seal on the Czech stage

Русская классика на киноэкране: в поисках художественного смысла (Катерина Измайлова Н. С. Лескова в киноверсии Р. Балаяна)

Berlin i Niemcy w dwóch adaptacjach filmowych powieści Alfreda Döblina Berlin Alexanderplatz

„…jeżeli był młyn w Niałku, był młynarz w Niałku…” Wypowiedź Teodora Parnickiego dla Stefana Szlachtycza

Approaches to the History of the American Civil War in Margaret Mitchell’s Gone With the Wind and its Film Adaptation by Victor Fleming

Time Travelling with Jack the Ripper on Page and Screen

The Gaze of the Spectral Setting in the 1968 BBC Adaptation of M. R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”

The Gaze of the Spectral Setting in the 1968 BBC Adaptation of M. R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”

About Adapting Conrad’s Prose to Film

Bella signora dai capelli turchini czy może o kruczoczarnych włosach – przekład nazw własnych w polskiej wersji dubbingowej Pinocchia Roberta Benigniego

Women And Visual Representations Of Space In Two Chinese Film Adaptations OfHamlet

„14 bajek z królestwa Lailonii Leszka Kołakowskiego” w praktyce edukacyjnej

A tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann

Poetyka intersemiotyczna a dydaktyka literatury

Philosophical Meta-Story about The Little Prince as a Synergy of Book and Film Industries: On the Possibilities of Film Adaptation of Literature for Children and Youth

Does the quality of interlingual translation influence the quality of the intersemiotic translation? On the English language film adaptations of S. Lem's The Futurological Congress and Solaris in the light of their translations into English

Fear in Tsarist Times. (Lost) Horror Movies of the Russian Empire