<p>The essay investigates the film adaptation process of the short story "Brokeback Mountain". The short story is compared to the film manuscript and the film. The process of adaptation is analyzed through a narratological perspective and uses Linda Hutcheon's "A Theory of Adaptation" as a starting point when analyzing matters such as focalization, narrators,voiceovers and framed narratives.</p>

The essay investigates the film adaptation process of the short story "Brokeback Mountain". The short story is compared to the film manuscript and the film. The process of adaptation is analyzed through a narratological perspective and uses Linda Hutcheon's "A Theory of Adaptation" as a starting point when analyzing matters such as focalization, narrators,voiceovers and framed narratives.

Direct study of the film adaptations of the works of William Faulkner’s is relatively rare, and many of the few examples are still based entirely on the notion of textual fidelity as opposed to the more modern approach of intertextuality. With the aim of providing such an approach, this project purposes that adaptations of Faulkner novels can actually be seen as reflections of his developing popular persona at certain times in his career, and that the ways in which this persona is perceived by the filmmakers plays a large role in each film’s adaptive and thematic expression. This adaptive process occurs under the heavy influence of both popular genre narratives and a variety of surrounding social and cultural contexts, all of which must be investigated if one is to fully explore the intertextual relationship between film and source.

The purpose of this essay is, from a narratological point of view and also by employing film adaptation theory, to compare the novel The Golden Compass to its film adaptation and examine the narrative elements they have in common and those that are distinct for each medium. The aim is also to critically comment on these elements and to discuss to what extent the changes made affect the story and how it is perceived. The analysis that I have carried out shows that changes have been made regarding the plot order, i.e. sequences have been moved around or even removed in the film adaptation. The portrayal of the characters differs as well; some characters have been condensed while others have been extended to fit into the new frame of narrative. There are also differences in pacing between the original work and the adaptation. However, the changes do not affect the perception of the story and the story works very well in the new narrative structure.

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The aim of this thesis is to investigate how the female characters of the Swedish novel The Serious Game (Den allvarsamma leken) by Hjalmar Söderberg (1912) are represented in the film adaptation from 2016, a film adaptation by Pernilla August (director). The thesis also asks what the adapted screenplay by Lone Scherfig can reveal about how the novel’s characters are transformed through the adaptation process. The study has two main purposes: (1) to investigate the film adaptation as a process by considering the adapted screenplay as an interstitial and at the same time autonomous work bridging the novel and the final film, and (2) to investigate how the specific form and structure of the screenplay, as well as contextual and industrial aspects are of some significance for the representation of the female characters in the final film. The analysis of the female characters’ transformation through the adaptation process uses a combination of screenwriting theory and adaptation theory in order to explore the relationship between the novel, the adapted screenplay and the final film. One of the main conclusions of the study is that the male characters of the novel are transformed into being oppressive towards the female characters in more direct manners. As a result, the female characters liberation is somewhat transformed into a liberation from individual men rather than from vast structural, political or legal oppressions. It also shows that this representation of the novels characters gradually transforms according to this tendency in the adaptation process. The study also shows how the screenplay can be seen as a textual context in film adaptation.   Full English title: “In, I long to get in. The women’s journey through the adaptation process of The Serious Game 2016” / Det finns många studier som undersöker filmadaptioner, det vill säga när till exempel en roman blir till film. Traditionellt sett undersöks då framför allt relationen mellan den färdiga filmen och dess ursprungliga förlaga, romanen. Den här uppsatsen utforskar istället filmadaption som en process, och det genom att se till en mellanliggande text som ofta har förbisetts inom adaptionsstudier, filmmanuset. I min analys vill jag, till skillnad från i många tidigare adaptionsanalyser som behandlar filmmanus, se filmmanuset som en ”färdig” eller åtminstone självständig text som kan analyseras i relation till en förlaga eller film utan att på samma gång upp- eller nervärdera dess betydelse eller status som ett eget verk. I syfte att belysa filmmanus som ett relevant studieobjekt inom adaptionsstudier analyseras den danska manusförfattaren Lone Scherfigs filmmanus Den allvarsamma leken i relation till förlagan, Hjalmar Söderbergs roman från 1912, och filmadaptionen från 2016, i regi av Pernilla August. Syftet är också att utifrån filmskaparnas uttalade ambition att lyfta fram romanens kvinnor, undersöka hur detta har gjorts, och det genom att analysera de kvinnliga rollfigurernas ”resa” genom adaptionsprocessen. Inspirerad av diskussioner inom den aktuella adaptionsforskningen, där nya teoretiska ingångar och analysmetoder uppmuntras, prövar jag en kombination och tillämpning av adaptions- och manusteori. Detta med målet att kunna behandla filmmanuset som ett betydelsefullt och mellanliggande steg i en adaptionsprocess, och samtidigt som en egen självständig text – filmmanuset som en adaption av romanen, och filmen som en adaption av filmmanuset. Analysen visar att framställningen av Den allvarsamma lekens rollfigurer har genomgått en successiv omformning under adaptionsprocessen – först i överföringen från roman till filmmanus, och därefter från filmmanus till film. Dessutom visar det sig att rollfigurernas successiva omformning har skett enlig en tendens liknande den som adaptionsforskaren Liora Brosh tidigare uppmärksammat i filmadaptioner av viktoriansk litteratur, som till exempel Svindlande Höjder och Jane Eyre. Brosh ser hur det förtryck som den viktorianska litteraturens kvinnor utsätts för har omformats i filmadaptionerna, bland annat genom att romanernas manliga karaktärer framställts som mer ondsinta eller våldsamma än i romanerna. Uppsatsen uppmärksammar också att filmmanus kan ses som ett slags textuell kontext inom filmadaption eftersom den västerländska filmens berättarstruktur enligt flera film- och filmmanusforskare till stor del formats av de strikta berättartekniska konventioner som förmedlats via otaliga filmmanushandböcker under de senaste hundra åren.

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In the Anglophone world, the Nanjing Massacre is also known as “the Rape of Nanjing,” which represents gender-based violence directly and inspires fictional writers to depict the tragedy of women. Yan Geling’s novel The Flowers of Warand Zhang Yimou’s film adapted from that novel are examples. In this thesis, through a comparison of Iris Chang’s The Rape of Nankingand two versions of The Flowers of War, I examine how Yan and Zhang apply the historical materials to portray the interaction between women and calamity. In The Rape of Nanking, Iris Chang displays “rape” from a transnational perspective. First, patriarchy rapes women. The East Asian male-dominated society exposed women to extreme danger. Society taught women to be gentle and meek, but men surrendered and fled when the war did happen. Another meaning of “rape” is that the stronger nation abuses the weaker nation. During the war, stronger countries ignored the call for help from China and forgot the Nanjing Massacre afterward. By contrast, when adapting the Nanjing Massacre into fictional works, both Yan and Zhang interpret “rape” from a single point of view and manage to find out “hope” in the war. In the novel The Flowers of War, Yan Geling details the problems with patriarchy without adequately illustrating the bigger global picture. She narrates how women use mature female organs to bring out (re)birth. Zhang Yimou, meanwhile, emphasizes the transnational context in his film. He expresses the idea that the Western religion is able to save the fallen Oriental civilization. In this thesis, I argue that in the novel The Flowers of War, Yan narrates how the inner strength of Chinese women’s bodies gets to solve the crisis of death; however, in the film version, Zhang seeks the external power – Western cultures – to cure the Chinese trauma. Nevertheless, both these two narrative strategies expose several problems: Yan represents the abjection of women, and Zhang shows the self-Orientalism tendency.

While many scholarships of the film adaptation of Disgrace have championed the fidelity rhetoric of the film with respect to J.M. Coetzee's novel, and in so doing, have advocated the axiomatic hierarchy of literature over cinema, this dissertation challenges the fidelity discourse about the film and proposes new tropes for adaptation criticism beyond the classical paradigm. Central to the thesis is the argument that a re-examination of Steve Jacobs's feature film Disgrace unveils the inconsistency and inadequacy of the fidelity rhetoric as a language for adaptation criticism, positions the film as an independent genre with its specificity and poeticity, and allows for an intertextual dialogue with other post-apartheid South African and postcolonial African cinematic productions as a means of promoting adaptation criticism beyond the fidelity model. While cementing the film's independent status vis-à-vis the novel, the intertextual critique also allows for a rewriting of Jacobs's Disgrace that addresses its shortcomings and controversies. Hence, drawing upon structural narratologists such as Gerard Genette, postcolonial scholars such as Gayatri Spivak and Frantz Fanon, and adaptation critics including Linda Hutcheon, Robert Stam, Alexie Tcheuyap, and Lindiwe Dovey, the dissertation explores at a time formal and thematic aesthetics of the film adaptation to diversify its critical avenues not only but also to bridge epistemological gaps left by previous studies which are limited to thematic hermeneutics.

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