Cinema Literary Adaptations as a Narrative Form

Cinema Literary Adaptations as a Narrative Form

With an oral tradition spanning thousands of years, literary works have been intricately woven into the fabric of cinema since the inception of the cinematograph and cinema's recognition as a narrative tool. Throughout the entire history of cinema, from its very beginning to the present day, literature has consistently held a crucial role. Literary adaptations have provided a dependable source of material, especially within the domain of Hollywood's commercial cinema. Cinema has drawn inspiration from literature, theater, and original scripts alike for its adaptations.However, the perception of literature as a more esteemed art form in contrast to cinema has often resulted in a critical examination of adaptations. These evaluations, often tinged with negativity, have led to a predisposed viewpoint towards adapted films. Nonetheless, it's important to acknowledge that both artistic realms contribute significantly to each other. For instance, the experience of watching a movie can often lead viewers to discover the corresponding novel, subsequently bolstering book sales. Additionally, literature presents content that can be easily adapted to cinema, streamlining the writing and production process. Converting a bestselling novel into a film ensures a built-in audience.The present study aims to delve into the complex relationship between cinema and literature, exploring the nuances of adaptation and its narrative implications through an extensive literature review. This investigation will primarily concentrate on core propositions and concepts that foster an approach to analyzing textual connections, particularly the intricate interplay between cinema and literature as epitomized in one of its most fundamental forms: adaptations.

___

  • Bazin, A. (2011). Sinema nedir? (Trans) İbrahim Şener, İstanbul: Doruk Pub. 58
  • Cartmell, D. (2012). A Companion to Literature, Film, and Adaptation. West Essex: Blackwell Publishing.
  • Currie G. (1995). Image and Mind: Film, Philosophy, and Cognitive Science. Cambridge: Cambridge University Press.
  • Dmytryk E. ve Dmytryk P. (2007). Sinemada Yönetmenlik, Oyunculuk, Kurgu. (Trans.) Ş. İbrahim, İstanbul: Doruk Pub.
  • Ergüven, M. (2002). Yoruma doğru. İstanbul: Yapı Kredi.
  • Esslin, M. (2001). Televizyon Çağı: T. V. Beyaz Camın Arkası. (Trans.) M. Çiftkaya, Ankara: Pınar Pub.
  • Kale, Ö. (2010). “Edebiyat ve Sinema İlişkisi”. Uluslararası Sosyal Araştırmalar Dergisi. 3 (14). 266-275.
  • Kayadevir, R. Y. (2019). “Uyarlama Sinema Filmleri Üzerine Bir Sorgulama: Sinema Seyircilerinin Okuma Pratikleri”.Sinefilozofi Dergisi. ISSN: 2547-9458. 453-473.
  • Kayaoğlu, E. (2016). Edebiyat ve Film Edebiyat Bilimi Yaklaşımıyla Film Çözümlemesine Giriş. İstanbul: Hiperlink Pub.
  • Kemp, P. (2014). Sinemanın Tüm Öyküsü. (Trans.) E. Yılmaz and N. Yılmaz, İstanbul: Hayalperest Pub.
  • McFarlane, B. (1996). Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon Press.
  • Özön, N. (2008). Sinema Sanatına Giriş. İstanbul: Agora Pub.
  • Ray, Robert B., (2000). “The field of ‘Literature and Film’”, Film Adaptation, Der. James Naremore, London: Athlone Press.
  • Stam, R. (2005). “Introduction: The Theory and Practise of Adaptation”, Literature and Film: A Guide to the Theory and Practice of Film Adaptation, ed. Robert Stam and Alessandra Raengo, Blackwell Publishing.
  • Stam, R. (2014). Sinema Teorisine Giriş. (Trans.) S. Salman and Ç. Asatekin, İstanbul: Ayrıntı Pub.
  • Sokurov, A. (2008). Sinemaya giden yol mutlaka edebiyattan geçiyor. Sinema söyleşileri 2008. İstanbul: Boğaziçi University Pub.
  • Yüce, T. (2005). “Sinema ve Edebiyat Türleri Arasında Görülen Etkileşimler.” Zonguldak Karaelmas Üniversitesi Sosyal Bilimler Dergisi. 1(2). 67-74.