This thesis explores the question of how Andrew Davies’ 1995 BBC serial adaptation and Joe Wright’s 2005 movie adaptation of Jane Austen’s homonymous Pride & Prejudice (re)present female desire...Show moreThis thesis explores the question of how Andrew Davies’ 1995 BBC serial adaptation and Joe Wright’s 2005 movie adaptation of Jane Austen’s homonymous Pride & Prejudice (re)present female desire on screen. This research examines and consults adaptation theory to gain a better understanding of what transpires when adapting a concept such as desire from a novel onto a screen. Implicit instances of desire are explored in the novel, so as to contrast those occurrences with how they are translated on to the screen. Close readings of relevant scenes provide insight into the use of camerawork, acting, dialogue and framing and how they enhance the audience’s attention to the depictions of desire, love, attraction and interest. What this research can conclude is that both productions acknowledge the desire present in the novel, be it implicit, and translate it onto the screen in a literalized manner, highlighting on different ways how that desire could be conveyed. Both adaptations recognize the importance of transmitting information through glances and looks – their focus ranging from shared looks between characters to the female’s independent gaze.Show less
This thesis analyses how the character and stories written by Arthur Conan Doyle have been adapted in season three and four of the BBC’s Sherlock and how the character of the detective develops...Show moreThis thesis analyses how the character and stories written by Arthur Conan Doyle have been adapted in season three and four of the BBC’s Sherlock and how the character of the detective develops throughout these two seasons. This analysis was performed through the lenses of both Adaptation Theory (Hutcheon, Joyce, Kline) and Character Studies (Eder, Jannadis & Schneider, Redmond), in order to achieve a complete picture as to how the character of Sherlock Holmes was adapted from Doyle’s stories and further developed for the television series. This study, first critically explores the stories and the character of Holmes in Arthur Conan Doyle’s stories and how the detective handles the situations in which he finds himself as well as how he interacts with other characters. The second chapter studies the development of the character of Sherlock throughout both seasons of the series, with an emphasis on season three, as well as explore the cases Sherlock gets involved in, since they are starting to bleed into his personal life. The third chapter focuses on season four of BBC Sherlock, in which the character of Sherlock and his relationships completely overshadow the cases, shifting the series towards the genre of melodrama. The series is compared to the content of Doyle's stories throughout all chapter in order to explore how the creators of the television series adapted the Victorian Holmes to a twenty-first century Sherlock.Show less
This thesis presents a comparative analysis of Shirley Jackson’s 1959 novel The Haunting of Hill House and the 2018 Netflix TV series adaptation by director Mike Flanagan based on the interpretive...Show moreThis thesis presents a comparative analysis of Shirley Jackson’s 1959 novel The Haunting of Hill House and the 2018 Netflix TV series adaptation by director Mike Flanagan based on the interpretive-focused theoretical approach within the field of film adaptation studies. The main argument is that as the result of the change in narrative structure, the TV series steps away from the individual psychological Gothic with Eleanor as its primary subject, and instead moves towards an intersubjective exploration of trauma and loss of the Crain family members.Show less
In Mary Shelley’s Frankenstein, the Creature is introduced as a Romantic hero, with human emotions and needs and a grotesque appearance. The image of the Creature has since changed repeatedly...Show moreIn Mary Shelley’s Frankenstein, the Creature is introduced as a Romantic hero, with human emotions and needs and a grotesque appearance. The image of the Creature has since changed repeatedly through mass-media adaptations of Shelley’s novel. For example, the current standard image of the Creature bears a strong resemblance to Boris Karloff’s Creature (Frankenstein, 1931) in appearance and personality. This thesis examines the form and function of “the Creature” in contemporary cinematic adaptations of Mary Shelley’s Frankenstein (1818). By analysing the appearance, abilities and behaviour of the Creature in the original Frankenstein (1818) and in cinematic adaptations from various genres, it is shown how the representation of the Creature is influenced by internal and external genre cues of the adaptation in which he is featured. The genres that are explored are the horror genre and the action genre, represented by the movies Frankenstein: Day of the Beast (2011) and I, Frankenstein (2014), respectively.Show less
