ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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Storyreminds him of the 1984 cult-classic This is Spinal Tap (Ebert np). 95 This is appropriate because itis also very much like Winterbottom's rockumentary 24 Hour Party People (2002). 96 A Cock and Bull Story uses both the technical and conceptual elements of the genre. The visual effects include shaky, hand-held-style camera-work, evident dollying, and stock shots like a video of Pavlov's dog (subbing in for John Locke's association of ideas) and a series of portraits of men with large noses (Dante, Newton, Alexander the Great et. al.), all typical technical elements of documentary films (Aufderheide 10). The cuts between episodes are distinguished, rather than “invisible,” with various types of “wipes” (Brady 215), like camera-shutters or irises in and out. 97 Some of the episodes throughout the film are documentary-style interviews, which are examples of the film's intermediality (as in, the incorporation of other media forms), and a method that documentaries use to “convey truth,” since the principle aim of documentaries is the documentation of “life” (Aufderheide 3). This “life” of Tristram Shandy is supplemented with aninformative segment by “Patrick” (Wildgust, curator of Shandy Hall, as performed by Stephen Fry) who explains the themes of the novel, and a segment of an interview in which Brydon gushes over Coogan (Coogan later remarks, “I think he's obsessed with me”). And the film's perspective is documentary: the camera follows Coogan around on-set. Even though it is unacknowledged and given omniscient perspective, the characters constantly acknowledge the concept of film-making and its technical aspects. At times, we see the film crew beyond the camera view. The audience also sees scenes-behind-the-scenes, like wardrobe and makeup and even suites. Finally, at one point, Coogan's voice-over tells the audience to check out the DVD's special features for more. The documentary/mockumentary genre has very close associations with the 70
fictionalized autobiography, and Winterbottom uses this genre to provide the kind of introspective and personal style of narration that Tristram Shandy promises to its readers; fooled again, however. The Historical Recreation Film Figure 17: On set. There is a tension in A Cock and Bull Story between historical re-creation and adaptation. There are many elements of the film that are concerned with the veracity of historical re-creation alongside the adaptation's attempt at a historical re-enactment film. For one thing, the map of Namur is digitally rendered and full-screen as the voice-over describes the various battles, indicated by special effect explosions, which is a common visual cue in historical documentaries and re-creation films. Voigts-Virchow argues that the map is the “equivalent of the special-effects that Sterne created for the book” (148). Moreover, the elaborate battle scenes interspersedthroughout the film are subjects of 71
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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
Page 27 and 28: and sale occupied less than five pe
Page 29 and 30: (Sterne 580). Neither do we receive
Page 31 and 32: himself was dying of, and died from
Page 33 and 34: “new depth” and it was Sterne w
Page 35 and 36: Widow Wadman’s preoccupation with
Page 37 and 38: (Sterne 472), alluding to both the
Page 39 and 40: to adaptation are the method or the
Page 41 and 42: Hutcheon’ s theory effectively si
Page 43 and 44: about the act of reading the novel.
Page 45 and 46: (Weiner 17). Critics began to value
Page 47 and 48: Figure 4.Rowson's homage to Gin Lan
Page 49 and 50: work, aided by the relationship bet
Page 51 and 52: 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: etween chapters and volumes (just a
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 and 104: 86 That is, the “lack of formula
Page 105 and 106: � Bibliography Allen, Dennis W.
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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