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HomeThe Fantastic from screen to books, from books to screen: adaptations, reworkings, translations, mentions

The Fantastic from screen to books, from books to screen: adaptations, reworkings, translations, mentions

L’imaginaire de l’écran à l’écrit, de l’écrit à l’écran : adaptations, réécritures, traductions, mentions

O insólito ficcional da tela aos livros, dos livros à tela: adaptações, recriações, traduções, menções

El insólito ficcional de la pantalla al libro, del libro a la pantalla: adaptaciones, recreaciones, traducciones, menciones

Revue « Caderno de Letras », #43 (2022)

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Published on Friday, December 03, 2021 by Céline Guilleux

Summary

Since its origins, Cinema has made evident the existence of an open dialogue with other forms of art, either by having incorporated them into its own language – given its hybrid particularity, being simultaneously narrative, performative, visual and voiced –, or by having used existing productions as inspiration and having created, from them, new forms of art. Literature has proven to be a fertile ground for inspiration. Not by chance, great works that mark the beginning of the cinematographic trajectory were adaptations of novelistic or theatrical literary works. We propose for the issue 43 of Journal Caderno de Letras a dossier on all the potentialities of such dialogue involving Fantastic literary and audiovisual productions, whether based on adaptations (in both directions) or on the direct or indirect presence of Literature in audiovisual media or of audiovisual productions in literary texts.

Announcement

Caderno de Letras, scientific publication with four issues a year, from the Literature Linguistics and Communication Centre and post-graduate programme of University of Pelotas (Brazil) is open to paper submissions for the 43rd issue, to be released in July 2022.

Argument

Since its origins, Cinema has made evident the existence of an open dialogue with other forms of art, either by having incorporated them into its own language – given its hybrid particularity, being simultaneously narrative, performative, visual and voiced –, or by having used existing productions as inspiration and having created, from them, new forms of art. Literature has proven to be a fertile ground for inspiration. Not by chance, great works that mark the beginning of the cinematographic trajectory were adaptations of novelistic or theatrical literary works. To name two iconic examples of such adaptations, we have the renowned Nosferatu (1922), by F.W. Murnau, and Dracula (1931), by Tod Browning, both inspired by Bram Stoker's 1898 novel. Not by chance, a large number of box-office successes adapted from literary works reveal productions currently associated with different facets of the Fantastic. Certain literary topics have incidentally become almost guaranteed successes, such as the Arthurian legend regularly adapted for the screen (Excalibur, John Boorman; Merlin, BBC One; The Green Knight, David Lowery; etc.), or superhero stories based on comics (Marvel Cinematic Universe, for example), that grow exponentially as adaptation budgets increase and special effects become more accessible. Despite sometimes facing prejudice in more traditional circles of literary criticism, these narrative modalities were, on the other hand, easily incorporated into the audiovisual discourse, not only in the Cinema, but also in animations, television shows and, more recently, in productions broadcasted on streaming platforms. However, this relationship did not happen in one direction only. In the same way that audiovisual productions have adapted, recreated and re-imagined literary texts, those too often served as base for literary works. One example is the film King Kong (1933), by Merian C. Cooper and Ernest B. Schoedsack, novelized by Delos W. Lovelace and released shortly after the film, that same year. Or even Guillermo Del Toro's films, such as The Labyrinth of the Faun (2006) and The Shape of Water (2017), which gained novelized versions written by the director himself in partnership, respectively, with writers Cornelia Funke, in 2019, and Daniel Kraus, in 2018. Disney Studios animations are another interesting example one must take into consideration. Literary works have served as inspiration for most of its productions and now the studio is readapting many of its classical animations into live-action format. At the same time, authors are re-imaging these stories and transforming them into novels for children and/or young adults, in a reworking process that goes through these two sibling-languages. Nevertheless, the dialogue does not occur only through adaptations from one language to another. It also occurs through references, reworkings, quotations, and mentions. To name a more recent example, the television show Penny Dreadful (2014-2016), by John Logan, is an original production that retrieves classic literary characters, such as Frankenstein's Monster, Dorian Gray and Dr. Jekyll, in a new plot, in which Literature is often present through the reading and debate of poems by John Clare, William Blake, Alfred Tennyson, among others. However, the possibilities do not stop there. Nowadays, this sort of “interinfluence” is present in most literary and audiovisual productions somehow linked to the facets of the Fantastic, in general, and to Fantasy and Science Fiction, in particular. Transmediatic worlds constitute a specific creative strength in these genres, with narratives spread simultaneously over different media. For example, The Witcher saga, first created by Andrzej Sapkowski as a series of novels and short stories, reached an even wider audience through its videogames and TV series adaptations, and developed complementary narratives. Thus, in this context, we propose for the issue 43 of Journal Caderno de Letras a dossier on all the potentialities of such dialogue involving Fantastic literary and audiovisual productions, whether based on adaptations (in both directions) or on the direct or indirect presence of Literature in audiovisual media or of audiovisual productions in literary texts.

Submission guidelines

Submission of full papers: 28 February 2022. 

Release date: July 2022.

Full papers (approximately 12 to 15 pages, references included) should be submitted directly through the Journal Caderno de Letras online system.

Editors

  • Dr Bruno Anselmi Matangrano (Federal University of Pelotas, Brazil)
  • Dr Justine Breton (University of Reims Champagne-Ardenne, France)
  • Dr Ramiro Estaban Zó (National University of Cuyo, Argentine).

Indicated references

Books

ANDRADE, Pilar, GIMBER, Arno & GOICOECHEA, María (eds). Espacios y tiempos de lo fantástico. Una mirada desde el siglo XXI. Bern, Peter Lang, 2010.

BLANC William, Super-héros, une histoire politique, Paris, Libertalia, 2018.

CÁNEPA, Laura Loguercio (Org.). Tim Burton, Tim Burton, Tim Burton.... São José dos Pinháis: Estronho, 2016.

FERRERAS SAVOYE, Daniel. Lo fantástico en la literatura y el cine: De Edgar Allan Poe a Freddy Krueger. ACVF Editorial, 2014.

GONZÁLEZ, Manu. Villanos fantásticos. Barcelona: Redbook Ediciones, 2019.

HUDELET Ariane et WELLS-LASSAGNE Shannon (eds.), De la page blanche aux salles obscures. Adaptation et réadaptation dans le monde anglophone, Rennes, Presses universitaires de Rennes, 2011.

MAGGIO, Sandra; ZANINI,  Claudio (Orgs.). Transposições Fílmicas - As Literaturas de Língua Inglesa no Cinema. Rio de Janeiro: Bonecker, 2018.

MELLET Laurent et WELLS-LASSAGNE Shannon (eds.), Etudier l'adaptation filmique. Cinéma anglais - cinéma américain, Rennes, Presses universitaires de Rennes, 2010.

NOVA, Vera Casa; ARBEX, Márcia; BARBOSA, Márcio (Orgs). Interartes. Belo Horizonte: Ed. UFMG, 2010.

PIÑEIRO, Aurora. El gótico y su legado en el terror. Una introducción a la estética de la oscuridad. Colección Gen Pop. México, Bonilla Artiga Editores, UNAM-FFYL, 2017.

ROAS, David (dir.). Historia de lo fantástico en la cultura española contemporánea (1900-2015). Madrid, Franfurt am Main, Iberoamericana, Vervuert, 2017.

SUPPIA, Alfredo. Atmosfera Rarefeita: a Ficção científica no Cinema Brasileiro. São Paulo: Devir, 2013.

SUPPIA, Alfredo (Org.), Cartografias Para a Ficção Científica Mundial: Cinema e Literatura. São Paulo: Alameda, 2015.

Dossiers

Revista Brumal, v. 8, n. 2, 2020. Transmedialidad e interactividad en lo fantástico: <https://revistes.uab.cat/brumal/issue/view/v8-n2>.

Revista Brumal, v. 4, n. 1, 2016: Lo fantástico en la nueva edad de oro de la televisión (1999-2015): <https://revistes.uab.cat/brumal/issue/view/v4-n1>.

Revista Brumal, v. 3, n. 1, 2015: Lo fantástico y los videojuegos: <https://revistes.uab.cat/brumal/issue/view/v3-n1>.

Revista Abusões, n. 16, 2021: Gótico, Fantástico e Ficção Científica: séries cinematográficas, televisivas e de streamings: <https://www.e-publicacoes.uerj.br/index.php/abusoes/issue/view/2584>.

Revista Abusões, n. 6, 2018: Visões do cinema: o gótico, o insólito, o fantástico: <https://www.e-publicacoes.uerj.br/index.php/abusoes/issue/view/1876>.

Revista Abusões, n. 2, 2016: Fantasia, ficção científica e horror em narrativas literárias e fílmicas: <https://www.e-publicacoes.uerj.br/index.php/abusoes/issue/view/1387>.

Revista Todas as Musas, v. 9, n. 2, 2018: Imagens do medo: o horror no cinema e na televisão: <https://www.todasasmusas.com.br/09_02.html>.

Revue Adaptation, vol. 9, issue 1, Oxford, Oxford University Press, 2016.


Date(s)

  • Monday, February 28, 2022

Keywords

  • imaginaire, cinéma, insólito, cinema, fantastic, fantástico

Contact(s)

  • Bruno Anselmi Matangrano
    courriel : bamatangrano [at] yahoo [dot] com [dot] br

Reference Urls

Information source

  • Bruno Anselmi Matangrano
    courriel : bamatangrano [at] yahoo [dot] com [dot] br

To cite this announcement

« The Fantastic from screen to books, from books to screen: adaptations, reworkings, translations, mentions », Call for papers, Calenda, Published on Friday, December 03, 2021, https://calenda.org/942970

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