Labirintos autorais: a adaptação fílmica de In the tall grass, de Stephen King e Joe Hill
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Tipo
Artigo
Classficação
Nível teórico
Data
2021
Autores
Título do Períodico
Travessias
ISSN
1982-5935
Página(s)/e-location
34-54
Idioma(s)
pt
Fonte
Fonte
Cascavel, PR
15
2
maio/ago.
15
2
maio/ago.
Coleções
Resumo
O presente artigo tem por objetivo realizar um estudo sobre as estratégias adaptativas empregadas no processo de remidiação do conto “In the tall grass” (2012), de Stephen King e Joe Hill, para a linguagem cinematográfica do streaming. Para tanto, nos propomos a realizar uma leitura imanente pautada nos aspectos formais e temáticos das duas obras: alterações e permanências de elementos narrativos, rupturas e continuidades formais e simbólicas, além das escolhas e recursos da linguagem cinematográfica empregados pelo adaptador Vincenzo Natali, bem como suas (possíveis) motivações. Para tanto, nos embasamos nas teorias acerca do processo de adaptação propostas por Stam (2000), Bolter e Grusin (2000), Ondaatje (2002) e Hutcheon (2013). A partir da análise, concluimos que, com a tarefa de não apenas reconfigurar uma obra literária para o modo de engajamento audiovisual mas, além disso, expandir uma narrativa curta para a duração de um filme longa-metragem, Natali lança mão de estratégias voltadas para a adaptabilidade do material-fonte e para a aceitabilidade mercadológica de seu filme, a saber: ampliação da participação dos personagens secundários e terciários; adição de um herói arquetípico como protagonista; ampliação dos cenários do conto, inserção de elementos sci-fi e do horror slasher. Ademais, muitos elementos da sintaxe cinematográfica são utilizados para transportar para a tela a tensão e a opressão do locus horribilis retratado no conto, tais como: tomadas aéreas do matagal; planos-detalhe em elementos da natureza; quadros abertos para estabelecer a localização dos personagens.
This paper aims to carry out a study on the adaptive strategies used in the remediation process of the short story “In the tall grass” (2012), by Stephen King and Joe Hill, to the cinematic language of streaming. To this end, we propose to do an immanent reading based on the formal and thematic aspects of the two works: changes and permanence of narrative elements, formal and symbolic continuities and ruptures, in addition to the choices and cinematographic language resources mobilized by the adapter Vincenzo Natali, as well as their (possible) motivations. For that, we are based on the theories about the adaptation process proposed by Stam (2000), Bolter and Grusin (2000), Ondaatje (2002) and Hutcheon (2013). Based on the analysis, we conclude that, with the task of not only reconfiguring a literary work for the audiovisual engagement mode, but, in addition, expanding a short narrative to a full length feature film, Natali uses strategies related to the adaptability of the source material and the market acceptability of his film, namely: expanding the roles of secondary and tertiary characters; adding an archetypal hero as the main protagonist; expanding the story's scenarios, inserting sci fi and slasher horror tropes. In addition, many elements of cinematographic syntax are used to convey to the screen the tension and oppression of the locus horribilis portrayed in the short story, such as: aerial shots of the tall grass; extreme close-ups in pieces of nature; open frames to establish the location of the characters.
This paper aims to carry out a study on the adaptive strategies used in the remediation process of the short story “In the tall grass” (2012), by Stephen King and Joe Hill, to the cinematic language of streaming. To this end, we propose to do an immanent reading based on the formal and thematic aspects of the two works: changes and permanence of narrative elements, formal and symbolic continuities and ruptures, in addition to the choices and cinematographic language resources mobilized by the adapter Vincenzo Natali, as well as their (possible) motivations. For that, we are based on the theories about the adaptation process proposed by Stam (2000), Bolter and Grusin (2000), Ondaatje (2002) and Hutcheon (2013). Based on the analysis, we conclude that, with the task of not only reconfiguring a literary work for the audiovisual engagement mode, but, in addition, expanding a short narrative to a full length feature film, Natali uses strategies related to the adaptability of the source material and the market acceptability of his film, namely: expanding the roles of secondary and tertiary characters; adding an archetypal hero as the main protagonist; expanding the story's scenarios, inserting sci fi and slasher horror tropes. In addition, many elements of cinematographic syntax are used to convey to the screen the tension and oppression of the locus horribilis portrayed in the short story, such as: aerial shots of the tall grass; extreme close-ups in pieces of nature; open frames to establish the location of the characters.
Descrição
Palavras-chave
Adaptação, Stephen Kin, Cinema, Streaming, Adaptation, Stephen King, Cinema, Streaming
Citação
RODRIGUES JÚNIOR, Edson José. Labirintos autorais: a adaptação fílmica de In the tall grass, de Stephen King e Joe Hill. Travessias, Cascavel, PR, v. 15, n. 2, p. 34-54, maio/ago. 2021. https://doi.org/10.48075/rt.v15i2.27644. Disponível em: https://e-revista.unioeste.br/index.php/travessias/article/view/27644. Acesso em: 2022-02-21