This study examines the film adaptations of six English novels; Sense and Sensibility, Emma, Tess, Jude, A Room with a View and A Passage to India. Through textual analysis of both the films and the original novels it demonstrates that many of the changes which occur in the transition between media are explicable in terms of differences between film and literary genres. Most previous writing on adaptation has tended to explain such changes as a consequence of film and literature having different signifying or expressive capacities. Whilst this study does not argue that literary styles and devices have necessary or inevitable equivalents in film form, it does propose that filmmakers can find satisfying and comprehensible correlatives for written idioms, and that differences between novels and their adaptations are not therefore always best understood as arising from failures in the mechanics of translation. In its consideration of what each film alters and omits this study finds compelling evidence that they are reshaped in particularly genre-related ways. This takes the form both of alterations that place an adaptation more comfortably in a particular fihn genre than the original story materials might allow, and changes which diminish or elide the operation of a literary genre to which the original novel belongs or relates. Sense and Sensibility, Emma and A Room with a View are discussed in terms of how they become romantic comedies, while the Hardy adaptations are the occasion of most of the original melodrama being omitted. Other genres and modes which pose problems and questions in adaptation - including tragedy, the didactic and the modern - are also examined. Additionally, this study will consider the political contexts and conditions of production of the novels and their adaptations as well as examining the extent to which the films may be said to be authored.

Stuttgart, FH, Diplomarb., 1999.

Univ., Diss--Düsseldorf, 2005.

Zugl.: Osnabrück, Univ., Magisterarbeit, 2009

Univ., Magisterarbeit, 2002--Frankfurt (Main)

Universiẗat, Diss., 2001--Mainz.

The main interest of this master's thesis are novels by Robert Graves I, Claudius and Claudius the God and an adaptation of the novels in a TV series I, Claudius produced by BBC in 1976. At the beginning of this master's thesis are described lives of the ancient authors (Suetonius, Tacitus, Velleius Paterculus, Cassius Dio and Josephus Flavius) and their works. At the beginning are also described princeps (emperors) of the Roman Empire, who ruled during the time period of the plot (Augustus, Tiberius, Caligula and of course Claudius). This part is based on the modern researches. The master's thesis compares the novels to ancient historic sources (Suetonius, Tacitus, Cassius Dio, Josephus Flavius et al.), that Robert Graves used during the writing of his novels. That's why there are many similarities between Graves' novels and ancient sources. Robert Graves took point of view of ancient authors. It means that in the novels are their opinions and theories. For example, Tiberius in the novel is a negative person, because Tacitus and Cassius Dio thought bad of him. The second interest of this master's thesis is to describe use of a film in the education. There is a scheme of a lesson in that could be I, Claudius used. Keywords Claudius, Fiction, Film, Robert Graves, Didactics

Syftet med denna uppsats är att analysera filmen Waking Life (Richard Linklater, 2001) utifrån David Bordwells narratologiska perceptionsteorier för att tydliggöra filmens narrativa konstruktion på ett kognitivt plan. På senare år har det kommit allt fler filmer som utmanar åskådaren med ett experimentellt berättelseformat. Waking Life tillhör den gruppen men lämnar också extra rum för åskådarens egna tolkningar. Genom ett fokus på filmens protagonist och dennes öde så riktar uppsatsens näranalys in sig på filmens underliggande berättelse, som i filmen döljer sig och samtidigt blandas med filmens filosofiskt inriktade innehåll. Näranalysen anknyter ständigt till Bordwells teorier som också visar sig vara väl användbara för en grundläggande linjär analys, men uppmärksammar samtidigt vissa av teorins brister. Sammanfattningsvis förtydligar uppsatsen detta genom att peka på vikten av åskådarens medvetenhet om vem eller vilka det är som egentligen berättar en film. Här är Waking Life med sitt experimentella narrativa upplägg och känslan av ett högst personligt berättande ett passande exempel.

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Informed by theories of media framing, exemplification, and non-fiction film production, this case study used as its sample for textual analysis the typed transcripts from the final cut of Helen Whitney's (2007) documentary film, The Mormons, and the interview transcripts of the 15 key commentators interviewed for the documentary. These theories suggest that (a) media producers condense topics in the media by selecting information that connects news stories to a larger context and imbues them with symbolic value; (b) verbal and visual examples have been shown to be more easily retrieved in memory than abstract ideas and are consequently judged by audiences to be more common in the real world; and (c) expository non-fiction films are organized in ways that convey objectivity, belying their constructed nature. With the aid of NVivo (2002), the themes in each text were identified and compared in order to evaluate which themes about Mormons were given salience in the film and which themes were de-emphasized in the film. It was found that the themes about Mormons' unusual commitment to their faith, as well as the Mormon Church's historical conflict in the United States and more recently with disaffected church members were accentuated in the film; the film did not equally incorporate the themes of LDS Church officials' self-description of Mormon beliefs and social practices. By coupling a close examination and comparison of the texts with the filmmaker's own personal statements about the making of the film, this thesis suggests that Helen Whitney constructed the film through a process that gave voice to minority viewpoints, challenged institutional or ecclesiastical authority, and favored complexity. As a result of these decisions, for example, the film perpetuated confusion about whether Mormons are Christians, the 19th-century LDS practice of plural marriage, and the current treatment of homosexuals within the LDS Church.