Transposition of the Scientific Elements in Hiroshi Teshigahara’s Adaptation of Kobo Abe’s the Face of Another.
This article focuses on Hiroshi Teshigahara’s film adaptation of the famous Kobo Abe’s The Face of Another with special attention on the transposition of the scientific elements of the novel in the film. This article observes how Teshigahara, through cinematic techniques, transposes Abe‟s scientific...
| Publicado en: | k@ta Vol. 19; no. 2; pp. 63 - 71 |
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| Formato: | Artículo |
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Petra Christian University, Institute of Research & Community Outreach
Dec2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=128236069&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 128236069 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14112639 2SH6 jtl: k@ta issn: 14112639 maglogo: N pubinfo: dt: Dec2017 vid: 19 iid: 2 pid: 31310 pub: Petra Christian University, Institute of Research & Community Outreach artinfo: ui: 128236069 10.9744/kata.19.2.63-70 ppf: 63 ppct: 8 formats: fmt: @attributes: type: P size: 907KB tig: atl: Transposition of the Scientific Elements in Hiroshi Teshigahara’s Adaptation of Kobo Abe’s the Face of Another. aug: au: Sutandio, Anton affil: Maranatha Christian University, INDONESIA. su: Film adaptations Cinematography sug: subj: Film adaptations Cinematography keyword: adaptation scientific element The Face of Another Transposition ab: This article focuses on Hiroshi Teshigahara’s film adaptation of the famous Kobo Abe’s The Face of Another with special attention on the transposition of the scientific elements of the novel in the film. This article observes how Teshigahara, through cinematic techniques, transposes Abe‟s scientific language into visual forms. Abe himself involved in the film adaptation by writing the screenplay, in which he prioritized the literary aspects over the filmic aspect. This makes the adaptation become more interesting because Teshigahara is known as a stylish filmmaker. Another noteworthy aspect is the internal dialogues domination within the novel narration. It is written in an epistolary-like narration, placing the protagonist as a single narrator which consequently raises subjectivity. The way Teshigahara externalizes the stream-of-consciousness narration-like into the medium of film is another significant topic of this essay. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of k@ta is the property of Institute of Research & Community Outreach - Petra Christian University and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: k@ta holder: Institute of Research & Community Outreach - Petra Christian University dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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