Research Article
BibTex RIS Cite

Brown and Wright Adaptations of Anna Karenina: Representation of Love and Relationships in the 1930s and 2010s

Year 2021, Volume: 14 Issue: 3, 1151 - 1182, 25.07.2021
https://doi.org/10.18094/josc.865325

Abstract

Film adaptations, especially those adapted from literature, have been growing rapidly in recent years due to the number of adaptations from both the mainstream and independent film industries. That being said, the focus of these studies is often on best-selling works of literary style that are easily adaptable to the screen; yet, there are situations where the adaptation process ends in a completely different way. Lev Tolstoy’s novel Anna Karenina, published in 1878, has been adapted more than once in theater, film, television, ballet, musical, opera and literary forms. Anna Karenina, adapted by Joe Wright with the same name in 2012, is quite different from other productions that have been adapted from novels to films until then with the bold changes made by the director. Considering the diversity of the era, the audience of the age, the possibilities of the cinema and the viewing practices of the adapted film, it becomes a subject of examination what kind of world the novel and cinema offer both to its audience and its reader by using different techniques. Another subject of this study is to examine how the romantic love theme, which is the focal point of the novel, is reflected cinematically in two different centuries. This study examines the 1935 and 2012 film adaptations of Anna Karenina novel using the formal and content analysis methods to analyze the technique that has been used when adapting from novel to film along with the perspective of romantic love of both centuries.

References

  • Andrew, D. (1984). Concepts in Film Theory. New York : Oxford University Press.
  • Bahtin, M. (2015). Dostoyevski Poeatikasının Sorunları (Cem Saoydan Çev.). İstanbul: Metis Yayıncılık.
  • Bao, B. (2008). The Differences Between Novels and Films--Enhance Literature Teaching by Using Films. US-China Education Review, 58-61.
  • Barthes, R. D. (1975). An Introduction to the Structural Analysis of Narrative. New Literary History 6(2), 237-271.
  • Bazin, A. (2011). Sinema Nedir?. İstanbul: Doruk Yayınları.
  • Bluestone, G. (1968). Novels into Film. Cambridge University Press.
  • Conrad, J. (1942). A Conrad Argosy. New York.
  • Cott, N. (1977). The Bond of Womanhood: Woman's Sphere in New English, 1780-1835. New Haven: Yale Univeresity Press.
  • Çetin, Z. (1999). Bir Anlatı Formu Olan Romanın Sinemaya Uyarlanması. İstanbul: Yayınlanmamış Doktora Tezi, Marmara Üniversitesi Sosyal Bilimler Enstitüsü.
  • Detenberg, B. L. (2011). The Influence of Form and Presentation Attributes of Media on Emotion. K. v. Doveling içinde, The Routledge Handbook of Emotions and Mass Media. Routledge.
  • Gajdusek, L. (1988). Toward Wider Use of Literature in ESL: Why and How. TESOL Quarterly, Vol 22 (2), 227-257.
  • Gillespie, D. (2014). The Art of Literary Adaptation and English-Language Film Interpretations of Russian Literature (Anna Karenina). . Social and Behavioral Sciences 154, 30-35.
  • Gökçem, S. (2019). 21. Yüzyılda Aşk: Bilimkurgu Sinemasında Sevme Biçimleri. Yayınlanmamış Doktora Tezi. Eskişehir: Anadolu Üniversitesi Sosyal Bilimler Enstitüsü.
  • Hayward, S. (2001). Cinema Studies: The Key Concepts. New York: Routledge .
  • Jacobs, L. (1939). The Rise of the American Film. New York.
  • Jukic, T. (2017). The October Garbo: Classical Hollywood and the Revolution. Studia Litterarum, 56-63.
  • Lebihan, J. (2015). This is (not) a love story: desire and repetition in Hollywood romantic comedies. Research Gate , 1-18.
  • Leving, Y. (2016). The Eye-deology of Trauma: Killing Anna Karenina Softly. F. H. Alexander Burry içinde, Border Crossing: Russian Literature into Film . Edinburgh University Press .
  • Lihua, L. (2011). On the Interactivity of Stylistic Analysis. Studies in Literature and Language Vol 2, No.3 , 103-107.
  • Lodge, D. (1996). The practice of writing: Essays, lectures, reviews and a diary. London: Secker & Warburg.
  • Magnusson, E. (Yöneten). (2012). Logistics [Sinema Filmi].
  • Marcus, M. (1993). Filmmaking by the Book: Italian Cinema and Literary Adaptation. Baltimore: Johns Hopkins University Press.
  • McCrum, R. (2012). Tom Toppard: Anna Karenina comes to grief because she has fallen in love for the first time. Retrieved from www.theguardian.com: https://www.theguardian.com/film/2012/sep/02/tom-stoppard-anna-karenina-tolstoy
  • Metz, C. (1977). The Imaginary Signifier. Bloomingdale: Indiana University Press.
  • Monk, C. (1996). Review of Sense and Sensibility. Sight and Sound, 50-70.
  • Montgomery, M. D. (1992). Ways of Reading: Advanced Reading Skills for Students of English Literature. London: Routledge.
  • Morgan, I. (2016). Introduction: Hollywood and the Great Depression. I. D. Morgan içinde, Hollywood and the Great Depression: American Film, Politcs and Society in the 1930s (s. 1-26). Edinburgh University Press.
  • Nour, S. (2019). The First 10 Films Ever to Be Based on Novels. reelrundown.com: https://reelrundown.com/film-industry/The-First-10-Book-to-Film-Adaptations-in-History adresinden alındı
  • Rasheed, Z. S. (2003). Semantic Film Preview Classification Using Low-Level Conputable Features. 3rd International Worshop on Multimedia Data and Document Engineering
  • Ricoeur, P. (1986). Time and Narrative. Chicago: The University of Chicago Press.
  • Sartre, J. (1995). Edebiyat Nedir? İstanbul: Payel Yayınları.
  • Schultze, S. (1982). The Structure of Anna Karenina. Cambridge University Press.
  • Slater, T. (2001). Transcending Boundaries: Lois weber and the discourse over women’s roles in the teens and twenties. Quarterly Rewiev of Film &Video Vol. 18, 260-266.
  • Swenson, K. (1997). Greta Garbo: A Life Apart. . New York: Scribner.
  • Tarvainen, J. W. (2015). The Way Films Feel: Aesthetic Features of Mood in Film. Psychology of Aesthetic Creativity and the Arts 9 (3) , 1-12.
  • White M.D., M. E. (2006). Content Analysis: A Flexible Methodology 55 (1) . Library Trends, 22-45.

Anna Karenina’nın Brown ve Wright Uyarlamaları: 1930’lar ve 2010’larda Aşkın ve İlişkinin Temsili

Year 2021, Volume: 14 Issue: 3, 1151 - 1182, 25.07.2021
https://doi.org/10.18094/josc.865325

Abstract

Film uyarlamaları, özellikle edebiyattan uyarlananlar hem ana akım hem de bağımsız film endüstrilerinden gelen uyarlamaların miktarı nedeniyle son yıllarda hızlı bir şekilde büyümektedir. Bununla birlikte, bu çalışmaların odak noktası, genellikle edebi tarzın beyaz perdeye kolaylıkla uyarlanabilir olanların arasından en çok satan yapıtlara yöneliktir; ancak, uyarlama sürecinin tamamen farklı bir şekilde sonuçlandığı durumlar da vardır. Lev Tolstoy’un 1878 yılında kitap olarak yayınlanan Anna Karenina romanı, şimdiye kadar tiyatro, film, televizyon, bale, müzikal, opera ve edebiyat formlarında birden fazla kez uyarlanmıştır. Joe Wright’in 2012 yılında aynı isimle uyarladığı Anna Karenina, yönetmenin yaptığı cesur değişimler ile o zamana kadar romandan filme uyarlanmış diğer yapımlardan oldukça farklıdır. Uyarlama filmin yayınladığı çağın, çağın seyircisinin, sinemanın olanaklarının ve izleme pratiklerinin çeşitliliği de göz önünde bulundurulduğunda roman ve sinemanın farklı teknikler kullanarak hem seyircisine hem de okuruna nasıl bir dünya sunduğu inceleme konusu haline gelmektedir. Bu çalışma, Anna Karenina romanının 2012 yapımı uyarlaması ile birlikte ilk sesli film versiyonu olan 1935 yapımının romandan filme uyarlanırken ne gibi değişikliklere uğradığını dönemin romantik aşka bakışını da içine alacak şekilde içerik ve biçim analizi yöntemi ile değerlendirilmesini içermektedir.

References

  • Andrew, D. (1984). Concepts in Film Theory. New York : Oxford University Press.
  • Bahtin, M. (2015). Dostoyevski Poeatikasının Sorunları (Cem Saoydan Çev.). İstanbul: Metis Yayıncılık.
  • Bao, B. (2008). The Differences Between Novels and Films--Enhance Literature Teaching by Using Films. US-China Education Review, 58-61.
  • Barthes, R. D. (1975). An Introduction to the Structural Analysis of Narrative. New Literary History 6(2), 237-271.
  • Bazin, A. (2011). Sinema Nedir?. İstanbul: Doruk Yayınları.
  • Bluestone, G. (1968). Novels into Film. Cambridge University Press.
  • Conrad, J. (1942). A Conrad Argosy. New York.
  • Cott, N. (1977). The Bond of Womanhood: Woman's Sphere in New English, 1780-1835. New Haven: Yale Univeresity Press.
  • Çetin, Z. (1999). Bir Anlatı Formu Olan Romanın Sinemaya Uyarlanması. İstanbul: Yayınlanmamış Doktora Tezi, Marmara Üniversitesi Sosyal Bilimler Enstitüsü.
  • Detenberg, B. L. (2011). The Influence of Form and Presentation Attributes of Media on Emotion. K. v. Doveling içinde, The Routledge Handbook of Emotions and Mass Media. Routledge.
  • Gajdusek, L. (1988). Toward Wider Use of Literature in ESL: Why and How. TESOL Quarterly, Vol 22 (2), 227-257.
  • Gillespie, D. (2014). The Art of Literary Adaptation and English-Language Film Interpretations of Russian Literature (Anna Karenina). . Social and Behavioral Sciences 154, 30-35.
  • Gökçem, S. (2019). 21. Yüzyılda Aşk: Bilimkurgu Sinemasında Sevme Biçimleri. Yayınlanmamış Doktora Tezi. Eskişehir: Anadolu Üniversitesi Sosyal Bilimler Enstitüsü.
  • Hayward, S. (2001). Cinema Studies: The Key Concepts. New York: Routledge .
  • Jacobs, L. (1939). The Rise of the American Film. New York.
  • Jukic, T. (2017). The October Garbo: Classical Hollywood and the Revolution. Studia Litterarum, 56-63.
  • Lebihan, J. (2015). This is (not) a love story: desire and repetition in Hollywood romantic comedies. Research Gate , 1-18.
  • Leving, Y. (2016). The Eye-deology of Trauma: Killing Anna Karenina Softly. F. H. Alexander Burry içinde, Border Crossing: Russian Literature into Film . Edinburgh University Press .
  • Lihua, L. (2011). On the Interactivity of Stylistic Analysis. Studies in Literature and Language Vol 2, No.3 , 103-107.
  • Lodge, D. (1996). The practice of writing: Essays, lectures, reviews and a diary. London: Secker & Warburg.
  • Magnusson, E. (Yöneten). (2012). Logistics [Sinema Filmi].
  • Marcus, M. (1993). Filmmaking by the Book: Italian Cinema and Literary Adaptation. Baltimore: Johns Hopkins University Press.
  • McCrum, R. (2012). Tom Toppard: Anna Karenina comes to grief because she has fallen in love for the first time. Retrieved from www.theguardian.com: https://www.theguardian.com/film/2012/sep/02/tom-stoppard-anna-karenina-tolstoy
  • Metz, C. (1977). The Imaginary Signifier. Bloomingdale: Indiana University Press.
  • Monk, C. (1996). Review of Sense and Sensibility. Sight and Sound, 50-70.
  • Montgomery, M. D. (1992). Ways of Reading: Advanced Reading Skills for Students of English Literature. London: Routledge.
  • Morgan, I. (2016). Introduction: Hollywood and the Great Depression. I. D. Morgan içinde, Hollywood and the Great Depression: American Film, Politcs and Society in the 1930s (s. 1-26). Edinburgh University Press.
  • Nour, S. (2019). The First 10 Films Ever to Be Based on Novels. reelrundown.com: https://reelrundown.com/film-industry/The-First-10-Book-to-Film-Adaptations-in-History adresinden alındı
  • Rasheed, Z. S. (2003). Semantic Film Preview Classification Using Low-Level Conputable Features. 3rd International Worshop on Multimedia Data and Document Engineering
  • Ricoeur, P. (1986). Time and Narrative. Chicago: The University of Chicago Press.
  • Sartre, J. (1995). Edebiyat Nedir? İstanbul: Payel Yayınları.
  • Schultze, S. (1982). The Structure of Anna Karenina. Cambridge University Press.
  • Slater, T. (2001). Transcending Boundaries: Lois weber and the discourse over women’s roles in the teens and twenties. Quarterly Rewiev of Film &Video Vol. 18, 260-266.
  • Swenson, K. (1997). Greta Garbo: A Life Apart. . New York: Scribner.
  • Tarvainen, J. W. (2015). The Way Films Feel: Aesthetic Features of Mood in Film. Psychology of Aesthetic Creativity and the Arts 9 (3) , 1-12.
  • White M.D., M. E. (2006). Content Analysis: A Flexible Methodology 55 (1) . Library Trends, 22-45.
There are 36 citations in total.

Details

Primary Language Turkish
Journal Section Research Articles
Authors

Selen Gökçem Akyıldız 0000-0002-7948-8330

Publication Date July 25, 2021
Submission Date January 20, 2021
Published in Issue Year 2021 Volume: 14 Issue: 3

Cite

APA Gökçem Akyıldız, S. (2021). Anna Karenina’nın Brown ve Wright Uyarlamaları: 1930’lar ve 2010’larda Aşkın ve İlişkinin Temsili. Selçuk İletişim, 14(3), 1151-1182. https://doi.org/10.18094/josc.865325