Some Notes on Andrew’s Well-Worn Muse

Andrew’s 3 modes of relation between the film and the text.

Borrowing
  • most frequent mode of adaptation
  • audience enjoys the “preestablished presence” of a “cherished work”
  • main concern: generality of the original, its potential for wide appeal
Intersection
  • opposite of borrowing. How/Why?
  • uniqueness of original is preserved, left unassimilated
  • cinema “records its confrontation” with an “intransigent text” (“film is the novel as seen by cinema”)
Fidelity of transformation
  • the reproduction in cinema of something essential about an original text
  • fidelity to letter and spirit of text, altho latter is more difficult
  • is spiritual fidelity 1) impossible, 2) replacing, or 3) intuitive ?

??? – Do film and fiction work oppositely? (12)

??? – How does the category of “matching” help resolve our issue (13)?

???- What would Andrew say about the film Adaptation?

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About Kevin L. Ferguson

Associate Professor of English and Director of Writing at Queens
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