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Metafikcija v literaturi in filmu : primer Tristram Shandy
ID Barlič, Špela (Avtor), ID Virk, Tomislav (Mentor) Več o mentorju... Povezava se odpre v novem oknu, ID Petek, Polona (Mentor) Več o mentorju... Povezava se odpre v novem oknu

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PID: 20.500.12556/rul/f6bc214e-d722-4efe-82f3-ba0b62bb6cd0

Izvleček
Diplomska naloga poskuša na primeru romana Tristram Shandy Laurencea Sterna in njegove filmske adaptacije, filma Tristram Shandy režiserja Michaela Winterbottoma, raziskati fenomen metafikcije v literaturi in filmu. Metafikcijo v smislu fikcije o fikciji danes pojmujemo predvsem kot eno temeljnih pojavnih oblik postmodernistične literature, a gre v resnici za pojav, ki spremlja literaturo že od antike. Roman Tristram Shandy iz sredine 18. stoletja velja za enega najbolj tipičnih primerov nepostmodernistične metafikcije, ki vsebuje celo vrsto metafikcijskih tehnik, od tistih bolj eksplicitnih, kot so neposredni nagovori bralca in vnašanje grafičnih simbolov v besedilo, do bolj implicitnih, kot sta parodija in medbesedilnost. Režiser Michael Winterbottom je pri svoji priredbi izhajal iz dejstva, da daje Sternov roman prednost formi pred vsebino. Film Tristram Shandy tako radikalno poseže v zgodbo romana, a v filmski medij uspešno prenese igrivi metafikcijski duh izvirnika. Metafikcijskemu romanu doda lasten avtoreferencialni okvir in zgodbo o pisatelju, ki ne zmore izpričati svoje življenjske zgodbe, priredi v zgodbo o režiserju, ki ne zmore posneti adaptacije njegove avtobiografije. Winterbottom namesto klasične priredbe tako ustvari metafilm, torej film, ki gledalcu obljublja pogled v zaodrje filmskega ustvarjanja. Filmsko resničnost razdeli na tri ravni (zunanjo, notranjo in metaraven), ki so med seboj neprestano v dialogu, tako da se gledalec ne more v nobenem trenutku popolnoma prepustiti nobeni izmed njih, zato pa se vsake od njih toliko bolj jasno zave. Poleg tega, da ima celoten film tipično metafikcijsko strukturo mise en abyme, smo gledalci priča številnim okužbam ene ravni resničnosti z drugo: pogledom v kamero in neposrednim nagovorom glavnega igralca, zrcaljenju likov, reflektiranju sveta neodvisnega filma, reflektiranju procesa snemanja filmske adaptacije, žanrskemu parodiranju, citiranju in aludiranju na različnih ravneh filmske sporočilnosti (zvok, dialog, slika). Roman in njegova filmska priredba tako nazorno pokažeta, kako metafikcija deluje v dveh različnih medijih in s kakšnimi mehanizmi se vzpostavlja.

Jezik:Slovenski jezik
Ključne besede:literatura in film, angleška književnost, metafikcija, filmske priredbe, filmski jezik, metafilm, diplomsko delo
Vrsta gradiva:Diplomsko delo
Tipologija:2.11 - Diplomsko delo
Organizacija:FF - Filozofska fakulteta
Kraj izida:Ljubljana
Založnik:[Š. Barlič]
Leto izida:2016
Št. strani:76 f.
PID:20.500.12556/RUL-98539 Povezava se odpre v novem oknu
UDK:821.111.09Sterne L.: S.:791.31
COBISS.SI-ID:61779810 Povezava se odpre v novem oknu
Datum objave v RUL:05.12.2017
Število ogledov:2253
Število prenosov:387
Metapodatki:XML RDF-CHPDL DC-XML DC-RDF
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Sekundarni jezik

Jezik:Angleški jezik
Izvleček:
The thesis aims to explore the phenomenon of metafiction in literature and film by examining the case of a novel by Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman, and its film adaptation, Tristram Shandy: A Cock and Bull Story, directed by Michael Winterbottom. Even though today metafiction in terms of "fiction about fiction" is perceived primarily as one of the main forms of postmodern literature it is actually a phenomenon accompanying literature since antiquity. The Life and Opinions of Tristram Shandy, Gentleman from the mid-18th century is considered one of the most typical examples of early metafiction and contains a series of metafictional techniques, ranging from more explicit ones, such as direct addresses to the reader and replacements of words and letters with graphic symbols, to those more implicit, including parody and intertextuality. Michael Winterbottom's film adaptation stems from the fact that Stern's novel gives priority to form over substance. That is why the film Tristram Shandy: A Cock and Bull Story (2005) radically changes the novel's plot, but succeeds in preserving the playful metafictional spirit of the original in the new medium. Winterbottom adds his own self-referential frame and adapts the iv story of a writer incapable of telling his life story by turning it into the story of a director who cannot successfully adapt this writer's biography to the screen. Instead of making a classical film adaptation Winterbottom therefore creates a metafilm, a film that promises the spectator a view to the backstage of filmmaking. The film divides its reality into three levels (external, internal and meta-level), which are constantly in dialogue, so that the spectator can never wholly immerse himself in any of them but rather becomes fully aware of all of them. Not only is the whole film designed in a typical metafictional mise en abyme structure, but we are also confronted with many instances of one level of reality being infected by another: the actor is gazing at the camera and speaking directly to the spectator, the characters have mirror images of themselves, the characters also reflect on the world of independent filmmaking and the process of shooting a film adaptation, there are genre parodies, quotations and allusions on different levels of cinematic language (sound, dialogue, visuals). The novel and its film adaptation therefore provide great examples of how metafiction operates in two different media as well as of the mechanisms by which it is being established.


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