Postmodernizem v kratki zgodbi in filmu Varuška : diplomsko delo

Svet, Saša (avtor), Matajc, Vanesa (mentor)

Postmodernizem je zadnja izmed velikih literarnih smeri in ker sega v naš čas, je še toliko bolj zanimiva. Pisatelji postmodernistične literature v svojih delih uporabljajo različne postmodernistične tehnike, da z njimi razbijajo iluzijo resničnosti in ene same možne resnice. Obstaja veliko teorij o postmodernizmu, ki ga ne smemo zamenjevati s postmoderno dobo, ki je epoha. Značilen za postmodernizem je razpad velikih zgodb ter pomembna vloga jezika. Tako kot v literaturi tudi v postmodernističnem filmu ni več zgodbe v starem pomenu besede. Navadno obstaja več različnih interpretacij zgodbe, pogosto so možni različni konci. Čeprav sta medbesedilnost in metafikcija zelo pogosti, ta dva postopka nista postmodernistična sama po sebi, ampak samo takrat, ko sta uporabljena zato, da razbijata iluzijo resničnosti. Veliko teoretikov opisuje literaturo in film kot dva različna medija, ne smemo pa pozabiti, da imata tudi skupne točke. Zelo veliko literarnih del, predvsem tistih, ki so bila med bralci popularna, je bilo adaptiranih v filme. Ti filmi so nastali na podlagi literarnih del, ni pa nuj no, da jih popolnoma posnemajo. Glede na to, koliko film odstopa od literarnega dela, govorimo o različnih tipih adaptacije. Kratka zgodba Varuška (The Babysitter, 1969), ki jo je napisal Robert Coover, spada v ameriško metafikcijo in je izrazito postmodernistična. Sestavljena je iz fragmentov, ki so med seboj pomešani, bralec ne ve, kaj se je zgodilo in kaj ne oz. kaj je plod erotičnih fantazij oseb. Tudi koncev je več, lahko rečemo da gre za vzporedne svetove. Film Varuška (The Babysitter, 1995), ki je nastal po literarni predlogi Varuške in ga je režiral Guy Ferland, pa ni postmodernističen. Ima klasično pripovedno strukturo, zgodba je jasna, konec pa samo eden. Film sicer sledi literarni predlogi in ji je zelo podoben, kljub temu pa se od nje tudi razlikuje.

• Jezik: Slovenski jezik
• Ključne besede: literatura in film, ameriška književnost, kratka zgodba, postmodernizem, metafikcija, medbesedilnost, filmske priredbe, diplomsko delo
• Vrsta gradiva: Diplomsko delo/naloga
• Tipologija: 2.11 - Diplomsko delo
• Organizacija: FF - Filozofska fakulteta
• Kraj izida: Ljubljana
• Založnik: [S. Svet]
• Leto izida: 2017
• Št. strani: 52 str.
• PID: 20.500.12556/RUL-104568
• UDK: 821.111(73).09Coover R.:791.31
• COBISS.SI-ID: 64971362
• Datum objave v RUL: 08.10.2018

Sekundarni jezik

• Jezik: Angleški jezik

Izvleček

Postmodernism is the last of the great literary trends and because it belongs to our time it is even more interesting. In their works, postmodernist writers use different postmodern techniques to break the illusion of reality and one possible truth. There are many theories about postmodernism, which is not to be confused with the postmodern age, an epoch. The collapse of great stories and the important role of language are typical of postmodernism. As well as in literature also in postmodern film story, in the old sense of the word, does not exist anymore. There are usually many interpretations of the story, often different ends are possible. Although intertextuality and metafiction are very common, these two are not necessarily postmodernism processes, but they can be considered postmodernist only when used to break the illusion of reality. Many theorists describe literature and film as two different media, but we should not forget that they have also common elements. A lot of literary texts, especially those popular among readers, were adapted into films. These films are based on literary works, but they do not necessarily completely copy them. Depending on how much the movie differs from the literary work, we talk about different types of adaption. The short story The Babysitter (1969) written by Robert Coover belongs to american metafiction and is highly postmodernist. It consists of fragments that interfere with each other so readers do not know what happened and what did or what is just the product of people%s erotic fantasies. There are also more ends, we can say that there are parallel worlds. The Babysitter (1995) made on the base of short story The Babysitter and directed by Guy Ferland is not postmodernist. It has a classical narrative structure, the story is clear and the end is only one. The film follows the literary text and it is very similar to it, but it also differs from the text too.