Neil Gaiman'ın Yıldız Tozu [Stardust] Romanının Sinema Uyarlaması Üzerine Bir Eleştiri Yazısı

Bu makalenin amacı romandan sinemaya uyarlanan filmleri göstergelerarası bir çeviri türü olarak ele alarak Neil Gaiman’ın Yıldız Tozu [Stardust] romanının sinema uyarlaması üzerine bir çeviri (uyarlama) eleştirisi ortaya koymaktır. Göstergelerarası ve esinleyici bir çeviri türü olarak uyarlama filmler (Gottlieb, 2005), yazılı bir materyalin görsel-işitsel ortama bir hayli karışık ve öznel aktarımı ve yorumlanmasıdır. Venuti (2007), uyarlamalarda kaymalara odaklanılması gerektiğini, kaymaların tarafsız olmadığını ve yapımcı/yönetmenin kaynak materyalle ilgili yorumunu yansıttığını vurgulamaktadır. Dolayısıyla bu kaymaları ve arkasındaki sebepleri incelemek uyarlamaları daha iyi anlamamıza yardımcı olacaktır. Perdikaki (2017a) romandan ekrana uyarlanmış bir eserdeki değişiklikleri (uyarlama kaymaları) sistematik bir şekilde incelemek için uyarlama çalışmaları alanından, çeviribilimden ve anlatıbilimden farklı anlayışları birleştiren interdisipliner bir yaklaşım kullanarak bir model önermektedir. Bu modelin önemi hem çeviribilim hem adaptasyon çalışmaları için birleşik bir çerçeve sunan ilk sistematik ve kapsamlı model olmasından kaynaklanmaktadır. Model biri betimleyici/karşılaştırmalı diğeri de yorumlayıcı olmak üzere iki bileşenden oluşmaktadır. Betimleyici/karşılaştırmalı bileşen kaymaların gözlemlenebildiği ‘ortamdan bağımsız’ kategorilere odaklanmaktadır. Bu ‘ortamdan bağımsız’ kategoriler iki farklı ortamda var olan iki sanat eserinin arasında gerçekleşen anlam aktarımını karşılaştırmayı ve incelemeyi olanaklı kılmaktadır. Yorumlayıcı bileşen ise kaymaların gerekçelerini ortaya çıkararak çeviri eleştirisinin tamamlanmasına hizmet etmektedir. Yıldız Tozu romanının sinema uyarlamasının analizi bu model aracılığıyla yapılmış, uyarlama kaymaları tanımlanmış ve bu kaymaların karmaşık etkileşimleri tartışılmıştır.

Anahtar Kelimeler:

Uyarlama filmler, göstergeler arası çeviri, uyarlama kaymaları, Yıldız Tozu, Neil Gaiman

A Critique on the Film Adaptation of Neil Gaiman's Novel Stardust

The aim of this paper is to provide a translation (adaptation) critique of the film adaptation of Neil Gaiman’s fantasy novel Stardust by approaching film adaptation as a type of intersemiotic translation. Film adaptation, being an intersemiotic and inspirational form of translation (Gottlieb, 2005) is a highly complex and subjective interpretation of a written source material into the filmic medium. Venuti (2007) points out the need to focus on the shifts observed in the film adaptation, emphasizing that these adaptation shifts are not neutral and that they reflect the filmmaker’s interpretation of the source material. Analyzing the shifts and the reasons behind these may lead to a better understanding of adaptations. Perdikaki (2017a) proposes a model for the systematic analysis of the changes (adaptation shifts) from novel to screen using an interdisciplinary approach combining insights from adaptation and translation studies and narratology. This model is significant since it is the first systematic and comprehensive model to provide a unified framework for both translation studies and adaptation studies. Her model consists of two components, i.e. a descriptive/comparative component and an interpretive one. The descriptive/comparative component focuses on the ‘medium-independent’ categories where the shifts can be observed. These ‘medium-independent’ categories make it possible to compare and analyze the transfer of meaning from one work of art to another, which are operating in two different mediums. The interpretive component aims to reveal the rationale behind the shifts to complete the critique. Through the application of the model to the film adaptation Stardust, the adaptation shifts were identified and the intricate interplay of reasons at play were discussed.

Keywords:

intersemiotic translation, adaptation shifts, film adaptation, Stardust, Neil Geiman,

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