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