'Disquiet' novella and screenplay : adaptation and creative hybridity
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(Novel and Screenplay)
(Novel and Screenplay)
(Exegesis)
(Exegesis)
(Library staff access only)
Date
2009
Authors
Leigh, Julia Marion
Editors
Advisors
Butterss, Philip
Jose, Nicholas
Jose, Nicholas
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Theses
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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.
School/Discipline
School of Humanities: English
Dissertation Note
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2009
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: http://www.adelaide.edu.au/legals
Description
[Pt. 1] Novella: Disquiet -- [Pt. 2] Screenplay: Disquiet -- [Pt. 3] Exegesis: Adaptation and creative hybridity