ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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99 In the last decade, a slew of biopic films have popularized this genre: Erin Brockovich (2000), A Beautiful Mind (2001), Hitler: The Rise of Evil (2003), Ray (2004), Walk the Line (2005), Factory Girl (2006), I’m Not There (2007), La Vie en Rose (2007), Frost/Nixon (2008), The Young Victoria (2009), The King’s Speech (2010), and The Social Network (2010) only scratch the surface of this film genre’s popularity in North America and the UK. This is not to say that it hasn’t been a popular genre since the invention of film, either. 100 Both the personal assistant and Coogan's spouse are named Jennie, an allusion to the addressee of many of Sterne’s chapters. 101 See Ita Mary Gibley. Realism in Laurence Sterne.Diss. (MacMaster University, 1975). 102 An allusion to the story beginning ab ovo and carrying on before Tristram is even born. 103 (Gow 10). 104 The obscurity of Sterne’s references (at times) is evidenced by the Florida editions of Sterne’s works. Edited by Melvyn New and Joan New, the Florida editions are the most comprehensive annotations. 105 It is probably a stretch to say that the Marx references are gestures towards the influence Sterne had over a young Karl Marx (see Karl Marx. Selected Writings.Ed. Hugh Griffith (London: CRW Publishing, 2009):15), but either way, my favourite Marx joke in the film is when Coogan speaks to the screenwriter, who just had his seventh child; he says, “You know there’s a Groucho Marx story about that; he meets a woman with seven children and says, ‘why have you got seven kids?’ And she says, ‘because I love my husband.’ And he says, ‘Well, I love my cigar but I take it out now and again.” Everyone chuckles, and the scene moves on. 106 Another of my favourite moments: as the personal assistant rummages through Coogan’s pants for the chestnut, Coogan shrieks at him to get his hand out of there. Once the chestnut is out, we see Coogan crumpled up on the floor in pain; he looks to the personal assistant and says, “You had your fingers in me arsehole . . . at least buy me a drink first.” The film’s modernized comedic moments speak to the original comedy of the text. 107 In Volume VIII, Tristram writes, “It is not enough that thou art in debt, and that, thou hast ten cartloads of the fifth and sixth volumes still – still unsold, and art almost at thy wit’s end how to get them off thy hands” (8.6). 108 Voigts-Virchow also argues that this “blurring of dimensions” parallels “Sterne’s own play on his author identity (variously, as Anonymous, Yorick, Tristram and Bramin” (150). 109 Voigts-Virchow pushes this as a subtextual reference to the obsession with penises in the novel (143). 110 See Chapter 1. 111 See n. 28. � � 96
� Bibliography Allen, Dennis W. “Sexuality/Textuality in Tristram Shandy.” SEL 25 (1985): 651- 670. Print. Andrew, Dudley. “The Economies of Adaptation.”True to the Spirit: Film Adaptation and the Question of Fidelity. Oxford: Oxford UP, 2011. 27-40. Print. Asplaugh, Leanne Davis. “Treading Upon the Shroud: Martin Rowson’s Graphic Novel Version of Tristram Shandy.” The Shandean (2009): 131-145. Print. Aufderheide, Patricia. Documentary Film: A Very Short Introduction. Oxford: Oxford University Press, 2007. Print. Baker, Van R. “Serne and Piganiol de la Force: The Making of Volume VII of Tristram Shandy.” Comparative Literature Studies (1976): 5-14. Barchas, Janine. Graphic Design, Print Culture, and the Eighteenth-Century Novel. Cambridge: Cambridge UP, 2003. Print. Bauer, Leda. “The Movies Tackle Literature.” American Mercury 14 (1928): 288- 294. Print. Bell, Michael. “Laurence Sterne and the Twentieth Century.” Sterne in Modernism and Postmodernism.Eds. David Pierce and Peter Jan de Voogd. Amsterdam: Rodopi, 1996. 39-54. Print. Bolter, Jay David and Richard Grusin. Remediation: Understanding New Media. Cambridge, MA: MIT Press, 2000. Print. Booth, Wayne. “Did Sterne Complete Tristram Shandy?” Modern Philology 48 (1951): 172-183. Print. 97
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ADAPTING TRISTRAM SHANDY by Adria Y
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AUTHOR: Adria Young TITLE: Adapting
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TABLE OF CONTENTS LIST OF FIGURES v
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ABSTRACT Laurence Sterne’s The Li
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CHAPTER 1: INTRODUCTION Given its r
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notion of a literal fidelity” (7)
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Cruel Intentions (Kumble 1999), and
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narrative in the same way that Ster
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CHAPTER 2: ADAPTING THE SHANDEAN Of
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The critical tradition surrounding
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digressive, and it is progressive,
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contexts and manipulated to a great
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Shandean, and are hitherto unseen t
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and sale occupied less than five pe
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(Sterne 580). Neither do we receive
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himself was dying of, and died from
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“new depth” and it was Sterne w
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Widow Wadman’s preoccupation with
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(Sterne 472), alluding to both the
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to adaptation are the method or the
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Hutcheon’ s theory effectively si
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about the act of reading the novel.
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(Weiner 17). Critics began to value
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Figure 4.Rowson's homage to Gin Lan
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work, aided by the relationship bet
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adaptation is in the “mixture of
Page 53 and 54: (Rowson np), as a reference to Joyc
Page 55 and 56: Commentary about Tristram Shandy mi
Page 57 and 58: or does not relate at all; however,
Page 59 and 60: Sentimental Journey as a textual
Page 61 and 62: Yorick is drawn as the likeness of
Page 63 and 64: spirits” (Sterne 1.1), and thus a
Page 65 and 66: Rowson also illustrates context via
Page 67 and 68: andRowson and Pete are drawn in a p
Page 69 and 70: we are aware that we are watching a
Page 71 and 72: critically approached. Fidelity as
Page 73 and 74: critical interpretation (what ideol
Page 75 and 76: associations and recognitions made
Page 77 and 78: etween chapters and volumes (just a
Page 79 and 80: fictionalized autobiography, and Wi
Page 81 and 82: cutting room floor (even though we
Page 83 and 84: fucking camera! He can be emotional
Page 85 and 86: at “realism.” Coogan replies,
Page 87 and 88: [Al] Pacino stand in for [David] Ga
Page 89 and 90: properties of different media make
Page 91 and 92: modes and conventions. On the abstr
Page 93 and 94: fictional autobiography, a military
Page 95 and 96: Figure 21: The final page of Rowson
Page 97 and 98: 11 Even this is tricky, and potenti
Page 99 and 100: 36 See Melvyn New. “Job’s Wife
Page 101 and 102: 59 Sterne had many Modern and Postm
Page 103: 86 That is, the “lack of formula
Page 107 and 108: Noble, 1978. Print. Corliss, Richar
Page 109 and 110: Joyce Goggin and Dan Hassler-Forres
Page 111 and 112: Hutcheon, Linda. A Theory of Adapta
Page 113 and 114: McFarlane, Brian. “Part I: Backgr
Page 115 and 116: ---------- “Interview with Alex F
Page 117: University of Adelaide, 2011. Web.
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