Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space. The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world. / MA (English), North-West University, Potchefstroom Campus, 2014

My area of research is Modern Japanese Literature and Film, and my thesis examines the collaborations between the writer Abe Kôbô and filmmaker Teshigahara Hiroshi, two artists who addressed the themes of identity and alienation in modern society through their work together. Specifically, I focus on the process of adaptation, looking at how the themes from the original texts are approached and captured cinematically. Such a study will allow me to explore the relationship between the two media, the differences in the presentation of theme and the possibilities of translation. The collaborations between Abe and Teshigahara offer a rare opportunity to conduct a survey on a specific pair of writer and director over the course of several works, tracking the evolution of their artistic vision and practice. What I hope to achieve through this project is to situate film adaptation as a valuable branch in the study of narrative, demonstrating its exciting possibilities in providing a discourse on the re-imagining of words through images.

Title from first page of PDF document. Includes bibliographical references (p. 104-110).

My area of research is Modern Japanese Literature and Film, and my thesis examines the collaborations between the writer Abe Kôbô and filmmaker Teshigahara Hiroshi, two artists who addressed the themes of identity and alienation in modern society through their work together. Specifically, I focus on the process of adaptation, looking at how the themes from the original texts are approached and captured cinematically. Such a study will allow me to explore the relationship between the two media, the differences in the presentation of theme and the possibilities of translation. The collaborations between Abe and Teshigahara offer a rare opportunity to conduct a survey on a specific pair of writer and director over the course of several works, tracking the evolution of their artistic vision and practice. What I hope to achieve through this project is to situate film adaptation as a valuable branch in the study of narrative, demonstrating its exciting possibilities in providing a discourse on the re-imagining of words through images.

Cette thèse propose une approche renouvelée de l’adaptation cinématographique de la littérature, par l’étude d’un corpus composé de plusieurs textes littéraires et de leurs adaptations cinématographiques réalisées par le même cinéaste, Wojciech Jerzy Has (1925-2000). L’originalité de notre analyse de corpus réside dans le fait de placer les films, et non les textes, comme éléments premiers et centraux dans l’organisation de notre démarche. Les textes littéraires, par le choix de cette approche target-oriented (Cattrysse 2014) qui part plutôt de la cible que de la source, deviennent ainsi les points d’arrivée plutôt que les points de départ de l’épreuve du corpus. Nous proposons un champ d’expérimentation qui fait de trois films réalisés par Wojciech Has l’impulsion d’un itinéraire d’analyses à la fois textuelles et filmiques, incluant les textes hétérogènes adaptés par ce réalisateur (ceux de Jean Potocki, Bruno Schulz et Bolesław Prus). Ce mode d’organisation crée des modes de relation inédits entre les textes et les films, mais aussi des textes entre eux, alors qu’aucune relation d’intertextualité déclarée ne motive leurs mises en rapport : le roman de Potocki, Manuscrit trouvé à Saragosse, les nouvelles de Bruno Schulz ainsi que La Poupée de Bolesław Prus appartiennent à trois siècles différents, des Lumières finissantes à l’entre-deux guerres mondiales. La logique de renversement du trajet critique traditionnel que nous mettons en œuvre, en mobilisant les ressources du cinéma à capter et projeter une expérience de lecture, révèle des analogies avec l’analyse textuelle : les notions de figure et de montage permettent de faire de l’adaptation un jeu de réécriture (Ropars 1990), ayant vocation à altérer le texte. C’est notamment par un certain nombre de figures apparentées au fantastique qu’une cohérence a posteriori est donnée au corpus textuel : les trois films de Has mettent en scène des doubles, des automates, des labyrinthes et des configurations autoréflexives qui créent de nouveaux points de contact entre les textes. Notre recherche double alors l’expérimentation de cet opérateur cinématographique de la littérature d’un opérateur fantastique, qui agit comme élément de cohésion dans le jeu différentiel entre littérature et cinéma. / This dissertation proposes a renewed approach to the topic of film adaptation, by studying several literary texts together with their film adaptations directed by the same filmmaker, Wojciech Jerzy Has (1925-2000). The originality of our analysis lies in placing films, not texts, as primary and central elements in the organization of our approach. By the choice of a target-oriented approach (Cattrysse 2014), literary texts become the points of arrival rather than the starting points of this comparative analysis. Three films directed by Wojciech Has give the impulse to an itinerary of analyzes that includes various texts adapted by this director (those of Jan Potocki, Bruno Schulz and Bolesław Prus). This mode of organization creates unprecedented modes of relation between the texts and the films, but also between texts themselves, while no relation of explicit intertextuality justifies their connections: Jan Potocki’s Zaragoza Manuscript (1794-1810), Bolesław Prus’ The Doll (1890) the short stories of Bruno Schulz (1934-1937) belong to three different centuries. The reversal of the traditional critical path that we are implementing in this work, by mobilizing the resources of films to capture and project the experience of reading, reveals analogies between filmic and textual analysis. The notions of figure and montage will allow to discover how adaptations can also qualify as rewritings (réécritures) (Ropars 1990), a concept that points towards films that alter the text.It is by the unveiling of some figures related to the fantastic genre that a posterior coherence is given to the texts adapted by Has: the three films present doubles, automata, labyrinth experiences and self-reflexive configurations, creating new relationships between heterogeneous texts. Our research doubles the experimentation of this cinematographic operator of the literature with a fantastic operator, which acts as an element of cohesion in the differential game between literature and cinema.

Au début des années 1950, le cinéma japonais achève de se remettre des restrictions d'abord imposées par le régime militariste, puis entraînées par la défaite du pays. L'industrie cinématographique prospère rapidement et puise dans la littérature des histoires pour les films qu'elle doit produire à une cadence toujours plus élevée afin de répondre à la demande des salles de cinéma. C'est dans ce contexte que Naruse Mikio (1905-1969) a réalisé six films inspirés de textes de Hayashi Fumiko (1903-1951). Ces films sont représentatifs tout à la fois des relations que les institutions littéraires et cinématographiques entretenaient à l'époque où les films ont été réalisés, du rôle joué par la littérature dans la politique de production des studios de cinéma et de la façon dont l’adaptation était perçue par la critique de cinéma.Mais outre la présentation de ces aspects contextuels et historiques, l'objectif de cette thèse est de dégager des pistes qui aideraient à appréhender l'œuvre de Naruse Mikio à travers l'examen des choix qu'il opère lors du processus d'adaptation, que ce soit au niveau du sujet, de la construction du récit, ou encore de la mise en scène. Naruse parvient à trouver un équilibre entre ses ambitions formelles et les exigences du récit en élaborant avec virtuosité un style effacé ou « invisible ». Pour tenter d'en faire ressortir les particularités, notre effort s'est concentré sur l'analyse des éléments de notre corpus (films, textes et scénarios). Dans cette entreprise, les textes de Hayashi constituent un référent précieux qui aide à déterminer les rapports que le cinéaste entretient avec son sujet, avec le scénario ou encore avec les contraintes inhérentes au cadre dans lequel il travaille. / In the early fifties, the Japanese film industry had almost recovered from the restrictions imposed first by the military regime and then from Japan’s defeat in the Pacific War. The industry then prospered rapidly and found in literature the stories needed in order to produce enough movies to comply to the always growing demand of the cinemas. It was in this context that Naruse (1905-1969) realized six movies inspired by Hayashi Fumiko's (1903-1951) works. These movies are exemplary of the relationship between literary institutions and the film industry at the time they were shot. They are also typical of the importance of literature in the production policy of the diverse film studios as well as the manner movie critics received these screen adaptations.Besides the presentation of the contextual and historical aspects, our objective is to identify ways which would help to discover Naruse Mikio's works through the filter of choices made by him at the time of the adaptation, be it when choosing the topic, the story construction or the stage direction. Naruse was able to find a balance between his formal ambitions and the requirements of the story by skillfully elaborating a subdued or “invisible” style. In order to highlight the singularities of his personal style, we have concentrated our effort on the analysis of the diverse elements of our corpus: the films, texts and scripts. In this endeavour Hayashi’s writings are a precious point of reference helping us to determine the precise nature of the relationship the film director had with his subject, with the script as well as the constraints imposed by the frame he was working in.

Master thesis deals with changes of elements, that constitute a fairy tale of the Cinderella in different times, cultural and media contexts. Therefore, thesis analyzes and compares different literal and film renderings of the story based upon morfological composition of the fairy tale and motives and gender stereotypes present in it. Individual features of tales are then processed and divided on archetypal and changeable. Main character, the Cinderella , is also considered, and her common characteristic is documented within gender analysis for every version of the story. Thesis also deals with fairy tale in general, with its definition, characteristic and theory of origin. Fairy tale is then interpreted as a part of folklore creation and as a literary work.

This work aims to study to homonymous works, From Hell, the graphic novel by Alan Moore and Eddie Campbell and the film adaptation directed by Albert and Allen Hughes, so as to develop a media study as well as plot and script analysis, Based on the Media Studies, focusing the theories of Cluver, Moser, Genette and Diniz, among others, we intend to approximate the distance between the corpora in the tension caused their autonomy. Therefore, the analysis seeks to understand the idiosyncrasies of each art s composition and, by the distance between each work, to apprehend their singularities given by the authors. To approach the composition, authors such as Eisner, Cagnin, Barthes and Eisenstein gave support to understand the functioning of both the film and the graphic novel. To analyze and organize the plots, the theory of Barthes guided once again the understanding of the compounding elements of the story like main and complementary events, character description and atmosphere. In addition to this there is also the symbol study, essential to From Hell study, based on Brenda Mallon s reflections. Finally, the understanding of the film and the graphic novel is done by means of two themes gender and sex , followed by Hell aiming to measure the range of each work. Therefore, when we follow the trajectory of the smaller parts up to the main event, we build the understanding of the whole corpus, comparing the synchrony of each work and their form and content. / Este trabalho tem por objetivo confrontar duas obras homônimas, Do inferno, sendo uma o romance gráfico de Alan Moore e Eddie Campbell e a adaptação dos diretores Albert e Allen Hughes, feita com base na primeira obra, a fim de desenvolver um estudo de media e de enredo. Com base nos estudos de intermidialidade, arrolando as teorias de Claus Clüver, Walter Moser, Gerard Genette e Thais Flores Diniz, entre outros, pretende-se relativizar a distância que há entre as partes do corpus na tensão provocada pela autonomia contra a ligação que elas mantém. Portanto, a análise busca através das proximidades entre ambos entender as idiossincrasias da composição de cada arte e, através dos distanciamentos, apreender as singularidades das obras atribuídas pelos autores. Para abordar a composição, autores como Will Eisner, Luis Antonio Cagnin, Roland Barthes e Sergei Eisenstein deram suporte para compreender o funcionamento tanto filme quanto da história em quadrinhos. Já para adentrar e organizar os enredos, a sistematização de Roland Barthes mais uma vez guiou a compreensão dos elementos constitutivos da história, como eventos principais e complementares, caracterização dos personagens e atmosfera da ação. Somada a essa parte, há ainda o estudo da simbologia, fundamental para a leitura de Do inferno pautado nas reflexões de Brenda Mallon. Em última instância, a compreensão do filme e do romance gráfico é realizada por duas grandes temáticas Gênero e Sexo seguida por Inferno com o intuito de depreender o âmbito ou o tom de cada obra. Por conseguinte, ao percorrer a trajetória das menores partes até a esfera geral, constrói-se a compreensão minuciosa do corpus, comparando a articulação que cada obra faz entre sua forma e seu conteúdo. / Mestre em Teoria Literária

The master thesis called "Czech films based on well-known criminal cases: from reality, newspaper/TV news to feature film and film reviews. Causa Velvet killers" deals with the notorious so-called Orlík Murders from the early 1990s. This case is considered as the biggest criminal case of the post-communist era in the Czech Republic. The group of five members killed five people, mainly for the money, between the years 1991 and 1993. Three of their victims were found in the Orlík Dam - two corpses were sealed in metal barrels and one was hidden in a mesh. The murderers were sentenced in 1997 after a four-year-long investigation. The movie called Velvet killers or The New Breed, which was directed by Jiří Svoboda, is based on these true events. This thesis focuses on the TV version of this motion picture and then also on the reviews published after the movie was released in 2005. This thesis mainly wants to reflect how the Czech media - specifically newspapers and television news - informed about this criminal case in analysed years from 1995 to 1997. The determining factor is the accuracy of the information. The aim of the work is to summarize the results of reporting on this case, which is still considered as one of the most brutal in the history of our country.