ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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IV. Credits Figure 20. Coogan and Brydon Since the novel is nine volumes, and since the film has to (by necessity) reduce the text to some extent, we are able to view the adaptation of Tristram Shandy as a film that faithfully captures the spirit of the novel, even if it “tampers” with the original (Hutcheon 2). Following Hutcheon, we can see how the film interprets and then re- creates a new art object that is based upon, but does not replicate, the original document. By using various conventions and methods of film-narrativity, A Cock and Bull Story transfers the elements of the text into a new medium. These moments indicate the hypermedial experience: we are constantly reminded of the medium of film, and the other mediums that are remediated into the movie. The various film conventions that are at play within the film channel the spirit of Sterne and his experimentation with various 82
modes and conventions. On the abstract level, Winterbottom presents the spirit of the text in a new format, which makes the adaptation true to the spirit of Sterne. We also have a hard time forgetting that we are watching the making of a movie about the making of a movie about a novel about the writing of a novel. These meta-layers are also embodied in the film’s characters and actors who play versions of themselves who are playing versions of themselves. Because A Cock and Bull Story gives us various manipulations of film-making, through the appeal to many conventions, and ultimately leaves us with an unfinished yet finished product, it is indeed a faithful adaptation. It is the very same bunch of “cock and bull” that we experience from Sterne. 83
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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
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 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: properties of different media make
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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