Cinematization, transcreation, and adaptation: poetic aspects of the intersemiotic relations in Broken April
DOI:
https://doi.org/10.11606/issn.2236-4242.v35i3p139-153Keywords:
Cinema of Poetry, Literature and Cinema, Pasolini, Ismail Kadaré, Walter SallesAbstract
The aim of this paper is to analyze the intersemiotic relations between Broken April, by Ismail Kadaré, and its adaptation Behind the sun, by Walter Salles. The analysis of the adaptation construction process takes into account the presence of poetic elements in both works, literary and cinematic. Therefore, comparative bibliographical research on this subject was carried out. It was found the poetic presence in both works is achieved by aesthetic procedures specific to each semiotic medium. This is the case with the literary rhythm and the subjective camera. Octavio Paz’s considerations regarding poetry’s presence in a variety of contexts, productions, genres and media were used as a theoretical framework. Pasolini’s Cinema of Poetry, which is consonant with Paz's theory, was also part of the framework adopted.
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