UPDATE: Film Adaptation (France) (12/17/05; 6/8/06-6/10/06)

full name / name of organization: 

With my apologies for the format of the previous CFP.
-Shannon Wells-Lassagne

De la page blanche aux salles obscures : l'adaptation cinématographique dans le
domaine anglophone

>From the Blank Page to the Silver Screen: Film Adaptations in the English-
Speaking World


Université de Bretagne Sud (University of South Brittany)
Lorient, France
June 8-10, 2006

For a long time, adaptations have been evaluated according to their
"faithfulness" to the "original" work, but the limits of this approach have
become increasingly apparent, as Brian McFarlane has shown: "Fidelity is
obviously very desirable in marriage; but with film adaptations, I suspect
playing around is more effective." Adapting literature to the big screen implies
revision, if not transformation. Rather than simply denigrating film adaptations
as impoverished versions of their literary counterparts, we would like to
examine adaptation as a meeting point of two modes of expression, whose very
confrontation is enlightening. Whether by strengthening new themes in a classic
novel (India in Mira Nair's Vanity Fair), appropriating a well-known tale for a
modern audience (Baz Luhrmann's Romeo + Juliet), creating new aspects of the
original story (the romance in Francis Ford Coppola's Dracula), or feeding on
the success of a best-seller (The Bourne Identity, L.A. Confidential), film
adaptations tell us something about ourselves, our society, and our
understanding and appetite for literary works. They also reveal alternative
facets of familiar literary works, which may explain the uncanny hold that
adaptations have on the public. Topics might include:


-Theorization of film adaptation
-Specific examples of film adaptations of novels, short stories, and plays
-Intertextuality in film adaptations
-Critical reception of film adaptations
-Postcolonial and gender-related transformations of literary works
-Sociological approaches to adaptation: what does adaptation reveal about the
adaptors and their public?
-Stylistic concerns: are some authors more easily adaptable than others?
-Genres and film adaptation
-History of film adaptation
-Hierarchy and authority
-The attraction of adaptation for the film industry: the economic side

This list is not exhaustive.

Papers will be accepted in English or French, and the proceedings will be
published by the Presses Universitaires de Rennes. Send abstracts of
approximately 300 words and a brief CV by December 17th, 2005 to shannon.wells-
lassagne_at_univ-ubs.fr and ariane.hudelet_at_wanadoo.fr.

Université de Bretagne sud http://www.univ-ubs.fr/

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Received on Fri Aug 12 2005 - 11:07:32 EDT