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Filmske adaptacije po literarni predlogi romana Viharni vrh Emily Brontë : diplomsko delo
ID Smrekar, Mitja (Avtor), ID Smolej, Tone (Mentor) Več o mentorju... Povezava se odpre v novem oknu

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Izvleček
Že kmalu po prvih dokumentarnih začetkih, ko je film začel prehajati v igranega, se je zgledoval pri literaturi in gledališču, tako zaradi leposlovnih vrednot kakor tudi zaradi pridobivanja kulturnega ugleda in občinstva. Mnogi priznani režiserji so priznavali, da so posamezne režijske postopke odkrili prav v literaturi. Roman in film delujeta skozi različna sredstva izražanja, pri čemer literatura (fikcija) uporablja besede za pripoved zgodbe, opis karakterjev in gradnjo idej, film pa uporablja slike oziroma podobe in akcijo, vendar imata v tem tudi veliko stičnih točk. Kakovost filmske realizacije ni odvisna samo od izvora filmske zgodbe, vendar pa odločitve za filmske adaptacije literarnih del potekajo po načelih presoje, ali literarno delo vsebuje določene elemente, ki jih je možno prenesti v film, "ki pritegne". Pri tem velja za poseben fenomen prav roman Viharni vrh angleške pisateljice Emily Brontë, ki s svojo silovito zgodbo med drugim nudi bogate iztočnice za vrsto mednarodnih uspešnih filmskih adaptacij. V nalogi so analizirana nekatera nova razmerja filmskih adaptacij romana z izvornim delom, predvsem najnovejše adaptacije vzporedno s predhodnimi. S predstavitvijo biografske podlage avtorice, literarne umestitve romana s poudarkom presoje elementov literarne gotike v viktorijanskem romanu ter analize njegovih recepcijskih učinkov, je podana podlaga za analizo filmskih adaptacij tega dela. Proučevanje filmskih adaptacij poteka po metodoloških osnovah, ki izhajajo iz tradicionalnega pristopa s presojo "zvestobe" literarni osnovi in prehajajo v sodobne pristope, kot so naratologija, teorije intertekstualnosti in recepcijske teorije - najnovejše teorije pa so se oblikovale v metodološki pluralizem intermedialnosti, za katero je značilen interdisciplinarni pristop. V presoji filmskih del, ki so nastala po literarni predlogi, se močno odražajo tudi principi izdelave scenarija, v katerem poteka prenos literarnega dela v izrazne postopke filmskega jezika. Izmed številnih filmskih adaptacij Viharnega vrha so izbrane tri odmevne izvedbe iz različnih časovnih obdobij. Vsaka od njih je kljub isti osnovi, na svoj način posebno in samostojno umetniško delo, vse pa v procesu adaptacije predstavljajo sklenjen krog, v katerem izvirno delo ponovno pridobiva pomen. Ta odmev je ugotovljen tudi v pregledu slovenske filmske kritike zadnje adaptacije, z upoštevanjem izraženega pomena izvornega literarnega dela.

Jezik:Slovenski jezik
Ključne besede:literatura in film, angleška književnost, viktorijanski roman, filmske priredbe, filmski jezik, intermedialnost, Wyler, William, Kosminsky, Peter, Arnold, Andrea, diplomsko delo
Vrsta gradiva:Diplomsko delo
Tipologija:2.11 - Diplomsko delo
Organizacija:FF - Filozofska fakulteta
Kraj izida:Ljubljana
Založnik:[M. Smrekar]
Leto izida:2016
Št. strani:79 f.
PID:20.500.12556/RUL-105007 Povezava se odpre v novem oknu
UDK:821.111.09Brontë E.:791.31
COBISS.SI-ID:61755234 Povezava se odpre v novem oknu
Datum objave v RUL:19.10.2018
Število ogledov:1555
Število prenosov:364
Metapodatki:XML RDF-CHPDL DC-XML DC-RDF
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Sekundarni jezik

Jezik:Angleški jezik
Izvleček:
Soon after the first documentary beginnings, when the film started to evolve into feature film, it was often modelled after literary and theatrical works, trying to preserve both the values of literature as well as its cultural prestige and its audience. Many renowned film directors have admitted that their own invention of individual directing techniques was influenced by literature. The novel and the film communicate by different means of expression; while literature (fiction) makes use of words to narrate the story, develop the characters and create ideas, the film uses pictures or, rather, images and action. However, both media also share many common points. The quality of the film production does not depend solely on the original literary work that has served as the model, yet the decision on whether a literary work should be adapted for film is based on the assessment of whether it contains certain elements which can be transferred to the film that will captivate the audience. The novel Wuthering Heights by the English novelist Emily Brontë is used as an illustrative example as its intense plot has proven a rich source of inspiration in a number of internationally successful film adaptations. The thesis analyses some new correlations between the film adaptations of the novel and the original, in particular the most recent adaptation in parallel with the previous ones. The author's biography, the literary contextualization of the novel with the focus on the elements of literary Gothicism in the Victorian novel, and the discussion of the novel's reception form the basis for an analysis of the film adaptations of this work. The methodological foundations first follow the traditional approach by assessing faithfulness towards the literary original and then includes modern approaches such as narratology, intertextuality and various reception theories, which have recently been united into methodological pluralism of intermediality with a characteristically interdisciplinary approach. The assessment of book-to-film adaptations also reflects the principles of screenwriting in which the process of the literature transformation into expressions of the film language is taken place. Three resounding productions from different time periods have been chosen from a number of film adaptations of Wuthering Heights. Despite sharing an identical literary basis, each of the three is a special and independent work of art in its own way. In the process of adaptation every one of them has formed an integral whole whereby the original has been upgraded. This is also reflected in an overview of the Slovene film critiques of the latest adaptation considering the expressed importance of the original novel.


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