Capote Essay -- Analysis, Journalism, Literary Adaptations

Even though it is problematic to define the happening of an accompaniment as a text or hypotext, works of literary news media are closely related to the framework of adaptations because an adaptation is defined as the process of making a work of art upon the basis of elements provided in a different medium furthermore, works of literary news media oftentimes resemble the frivol awayic construction of a screen play. Before I assert my argument by using Stams theories about literary adaptations into film from his essay Beyond Fidelity The Dialogics of Adaptation, I will set about with a short summary of Stams article. He starts his essay by complaining The language of criticism dealing with the film adaptation of novels has often been profoundly moralistic, awash in terms such as infidelity, betrayal, deformation, violation, vulgarization, and desecration, each(prenominal) accusation carrying its specific charge of outraged negativity (54). He claims that a more effective crit icism will be based in contextual and intertextual history (75), and less concerned with vague ideas of fidelity. He believes that rank(a) fidelity is impossible due to (1) the difference in medium mingled with novel and film, (2) the lack of a single absolutely correct indicant of a novel, and (3) the intertextuality of all novels and films. He claims that Each medium has its own specificity deriving from its respective materials of expression (59), and explains that the written word is the novels only component of expression, term the film has more components such as moving photographic image, phonic sound, music, noises, and written materials (59). Therefore, certain changes are inevitable. Stam is also concerned with the term obedience in film adaptations. Is it... ...e subdivided into eighty-six scenes which tell the facts of the case by evermore alternating the viewpoint (132), which is obviously a technique of screen writing. In his biography Capote, Clarke also ident ifies Capotes style as cinematic when he claims that Despite Brooks effort, it the movie In gelid Blood, has little of the obtains impact. Paradoxically, it is also less cinematic than the book (386). To conclude, the similarities in the process processes of transforming a body of hypotexts, the similarities between mediation filters in the process of adapting a novel into a film and adapting a actual case into a non-fiction novel, as well as the fact that nearly adaptations are realized in a style that creates a cinematic experience for the reader, are factors that proof my proposal that works of literary journalism can also be seen as adaptations.