<p>Explores the difference between the two versions of Virginia Woolfs short story about Nurse Lugton.</p>

Explores the difference between the two versions of Virginia Woolfs short story about Nurse Lugton.

This thesis studies the film adaptation of Stephen King’s The Shining (US 1977) by Stanley Kubrick (US 1980). The focus of this study lies on Kubrick’s approach towards the settings and the characters. How can we study the role of the auteur in the adaptation process and the differences between source text and film adaptation? How can we understand King’s negative reaction to Kubrick’s ways of altering and differentiate the storytelling? The summary presents a discussion of what adaptations can create and what the process from source text to film looks like. This thesis contributes to adaptation studies and their discussions of media specificity.

Diss. Uppsala : Univ., 2004.

This master's thesis investigates the transmediations of Astrid Lindgren's Ronja the Robber's Daughter into a feature film by Tage Danielsson and an anime by Goro Miyazaki. Drawing on intermedial theory and analytical method, the analysis explores how the creatures called “murktrolls” and Ronja’s “scream of spring” are portrayed across these media adaptations. The thesis draws on Lars Elleström’s intermedial concepts, specifically the concept of “media transformation”. The analysis reveals how Danielsson condenses the presence of murktrolls, replacing them with “rumphumbs” and “grey dwarfs”, whereas Miyazaki expands the depiction of these mythical creatures. Both adaptations extend the significance of the “scream of spring”. The analysis can point towards a connection between murktrolls and the scream of spring, symbolizing themes of life, identity quest, and inspiration. Ilon Wikland's illustrations serve as pivotal source material, influencing the transmediations. In sum, the study highlights the dynamic interaction between the source and target media products. Kondo's anime images are notably grounded in Wikland's illustrations. By publishing the novel with these new images, that is adding a new version of the novel, the work is enriched, deepening the connection between the anime and the novel. There is also an interaction between the anime and the feature film; many details are transferred from the film to the anime. The thesis demonstrates that each transmediation shapes the overall understanding of the work by accentuating specific details from the novel. The anime and feature film, along with each reading of the novel, collectively reconstruct the narrative. These findings underscore the significance of transmediation, drawing attention to essential themes within the novel.

Studien undersöker användningen av Goyas etsning När förnuftet sover kommer monstren och Fuselis oljemålning Nattmaran som förekommer i slasherfilmen Terror på Elm Street (2010). Konstverken är placerade i en scen där konstverken bland annat får en självrefererande roll eftersom det som sker i konstverken även sker i filmen. Syftet med studien är att undersöka vad konstverken fyller för funktion i filmen och att undersöka om det finns stilistiska och tematiska likheter mellan konstverken och filmen trots att det skiljer ungefär 200 år mellan dem. De båda konstverken analyseras semiotiskt och filmen analyseras främst utifrån studiens teoretiska perspektiv: intermedialitet, transmediering och intertextualitet.   Resultatet visar att slasherfilmer och skräckfilmer är väldigt flitiga med användandet av intertextuella referenser och självrefererande uttryck men att det är svårt att veta exakt vad konstverken har för betydelse. Tidigare forskning visar att tidig skräckfilm inspirerades av gotiska romaner och romantiska konstverk vilka transmedierades till filmmediet när det var tekniskt möjligt. Mellan konstverken och filmen går det att hitta flera stilmässiga och tematiska likheter som är typiska för det som började framhävas under romantiken. Terror på Elm Street (2010) bär på flera postmoderna drag, bland annat eftersom filmen kombinerar uttryck från det förflutna och berör gränsen för vad som ses som fin- respektive populärkultur. / This study examines Goya’s etching The Sleep of Reason Produces Monsters and Fuseli’s The Nightmare and how they are used in the slasher movie A Nightmare on Elm Street (2010). The purpose of this study is to explore the artworks and their role within the movie and examine if it is possible to distinguish stylistic and thematic similarities between the works despite being separated by approximately 200 years. The artworks are analyzed according to a semiotic method, while the movie is analyzed mainly using the study’s theoretical aspects: intermediality, transmediality and intertextuality. The result shows that intertextual references and self-referential expressions are frequently used in slasher movies. However, the specific role which these artworks play in the movie is often hard to decipher. There are several similarities between the artworks and the movie and previous studies shows that early horror movies were influenced by gothic novels and romantic paintings which were transmediated to fit the film medium. The art works used in A Nightmare on Elm Street (2010) have the same motifs as part of the film’s story and are also part of a postmodern trend of mixing between so called high culture and popular culture.