ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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contention among the film's producers and financiers. The meta-commentary that such scenes provide is whether the historical scenes are even convincing. While the cast and crew watch the filmed battle scenes, Coogan says “Mel Gibson's not going to lose any sleep” (a joke, since the scenes are not convincing). Brydon remarks, “I'm leading literally tens of men.” And comments on the historical inaccuracy of the costumes, which are “out of period, about 50 years out of date,” cause the costume designer to cry. Foley- Dawson argues that the film “shuns any pretence of historical accuracy” (150) by parodying the conventions of historical dramas and the concern for authenticity. David Ingoldsby, played by Mark Williams, the low-paid “historical accuracy adviser” on the film, satirizes the “obsession with 'superficial' historical accuracy” in adaptations (Foley- Dawson 150). He is shown adjusting tricorn hats and commenting on the wardrobe. Later, he cries out that, “We wouldn't be interested in participating in a pantomime.” And yet, the film itself is a pantomime of these kinds of historical representations on film. Coogan obsesses over the height of his shoes in relation to Brydon's shoes (since Coogan should appear taller on screen as the “leading man”) but the costume designer is unable to modify the wardrobe on account of historicity. And, because the financiers are concerned about the film's overall marketability as an adaptation, the deliberation over whether to film the expensive and elaborate battle scenes because they will come across as “contrived and awkward” instead of accurate (Gow 10) mocks the entire premise of historical re-enactment films at their core. What the film accomplishes through its participation with these generic expectations are moments of hypermedial awareness: we are watching an adaptation about an adaptation, and it is made to be trivial since historical accuracy is of course impossible. In the end, the battle scenes wind up on the 72
cutting room floor (even though we have seen them). The Biopic Drama Figure 18: Brydon and Coogan compare heights. The rise of popular interest in biography in the second half of the eighteenth- century informs Sterne's novelistic design. 98 Likewise, the popularity of the biopic and doc-drama, or documentary-drama, appropriately informs A Cock and Bull Story. 99 The film adapts Tristram Shandy to mirror the idiosyncratic, domineering whims of Tristram as subject and narrator through Coogan as subject and narrator. Borrowing elements from biographical films, including Winterbottom's 24 Hour Party People, A Cock and Bull Story follows Coogan on-set as he deals with various personal and professional issues: he is blackmailed into a tabloid interview, he convinces the screenwriter to include the love- story with Widow Wadman, he drinks with the cast after a day's filming. But the real appeal to biopic and doc-drama convention is the dramatization of his fleeting infidelity 73
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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
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 and 78: etween chapters and volumes (just a
Page 79: fictionalized autobiography, and Wi
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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