Please use this identifier to cite or link to this item:
Scopus Web of Science® Altmetric
Type: Theses
Title: 'Disquiet' novella and screenplay : adaptation and creative hybridity
Author: Leigh, Julia Marion
Issue Date: 2009
School/Discipline: School of Humanities: English
Abstract: The major creative work of this thesis consists of ‘Disquiet’, the novella and the screenplay. It is a twice-told tale. In the exegesis I explore the writing practice of working between two narrative forms. To do this I begin by establishing that the traditional focus of adaptation studies has been book-to-film adaptation. Within this field the issue of ‘fidelity’ has been a dominant concern although it is hard to find any scholar who is actively arguing for fidelity. I look at types of adaptation and then outline some possible new directions for adaptation studies. I pay attention to two areas that adaptation studies have largely overlooked and which are pertinent to ‘Disquiet’: the screenplay and the novelisation. Having loosely situated ‘Disquiet’, the novella, within the experimental end of the novelisation continuum I then develop the concept of the creative hybrid. I revisit the assumption that where there are two creative works based on the same story then one work must have come into being before the other. I also query whether the term ‘adaptation’ is appropriate to describe the creative process for hybrids. I look at other modes of speaking about ‘adaptation’ proposed by recent scholars and venture some terms of my own. Turning to the case studies I first make the case for why Graham Greene’s novella The Third Man – which was written before his screenplay for a film of the same name – does in fact sit on the continuum of novelisations and/or could be called a hybrid. The second case study is Pier Paolo Pasolini’s so-called novel, Theorem. The third case-study is Ingmar Bergman’s hybrid text, The Best Intentions. I then address ‘Disquiet’ in both its forms, highlighting the writing practices I adopted. I conclude that ‘Disquiet’ does not readily fit within either book-to-film adaptation or novelisation. I suggest that acknowledgment of creative hybrids invites a deeper understanding of the practice of adaptation.
Advisor: Butterss, Philip
Jose, Nicholas
Dissertation Note: Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2009
Keywords: novella
Description: [Pt. 1] Novella: Disquiet -- [Pt. 2] Screenplay: Disquiet -- [Pt. 3] Exegesis: Adaptation and creative hybridity
Provenance: This electronic version is made publicly available by the University of Adelaide in accordance with its open access policy for student theses. Copyright in this thesis remains with the author. This thesis may incorporate third party material which has been used by the author pursuant to Fair Dealing exceptions. If you are the owner of any included third party copyright material you wish to be removed from this electronic version, please complete the take down form located at:
DOI: 10.4225/55/5afb80e6a2196
Appears in Collections:Research Theses

Files in This Item:
File Description SizeFormat 
01front.pdfNovel and Screenplay13.69 kBAdobe PDFView/Open
02whole.pdfNovel and Screenplay284.77 kBAdobe PDFView/Open
03front.pdfExegesis16.19 kBAdobe PDFView/Open
04whole.pdfExegesis232.38 kBAdobe PDFView/Open
PermissionsLibrary staff access only453.17 kBAdobe PDFView/Open
RestrictedLibrary staff access only688.9 kBAdobe PDFView/Open

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.