The Theory of Monopolistic Competition.

Literary translators and translation, when noticed at all, have a poor public image inconsistent with the evidence of skill and effort shown in translators’ essays, postscripts and interviews, and with the respect shown to literary translation practice in translation studies in general. This article suggests that much of this negativity results from the entailments, or logical implications, of the dominant conceptual metaphors of translation: movement and replacement. Conceptual metaphors powerfully shape perceptions and expectations, but unlike consciously applied metaphors their effects go largely unnoticed. By comparing the current dominant metaphors of translation to an alternative of “translation as performance” we can see that many of the common concepts of translation are entailments of metaphor rather than intrinsic features of translation. The performance metaphor is used as a contrast because it has very different entailments, thus highlighting the effects of the current metaphors and al...

Literary translation and conceptual metaphors: From movement to performance

This article provides a detailed analysis of the box-office performance of the controversial hardcore pornographic feature film Deep Throat (1972), the reported very high total revenue of which ($6...

‘The most profitable film ever made’: Deep Throat (1972), organized crime, and the $600 million gross

During the 1970s and 1980s, ‘period adaptations,’ or period films based on the Flemish literary patrimony, were the most prominent and prestigious genre of film production in Flanders, the northern, Dutch-speaking region of Belgium. Connecting the observation that official film policy largely determines Flemish film production with the dominant interpretation of period adaptations in Flemish cultural and national terms, these films are often seen as the product of an official Flemish film policy strategy. Drawing on original archival research and interviews with policy actors and film-makers, this article offers a detailed historical account of the Flemish film support process behind the allocation of official film funds for period adaptations and how the national question was involved. Contrary to common assumptions, this film support process was a very complex and often ambiguous one, whereby Flemish cultural nationalist concerns could work both to the advantage and to the disadvantage of period adaptat...

Film policy, national identity and period adaptations in Flanders during the 1970s and 1980s

IntroductionIn November 2011, the main Flemish film policy body, in cooperation with the confederation of the Flemish book trade, organized^ a matchmaking event, "Speed Dating Novel/Film/Television." The objective was to stimulate joint ventures by encouraging contact between publishers of novels and producers of films and television programs. This event is an example of how official film policy can influence the development of adaptation projects. The significance of film policy in this process is not a recent phenomenon; it originated with the introduction of systematic film subsidy mechanisms in various European countries and regions during the 1950s and 1960s. The allocation of government support has since been crucial to the production or withdrawal of many adaptation projects. As early as 1969, Thomas H. Guback noted that without this support, "film production in Europe would hardly be solvent and the various industries would lead a most precarious existence" (142)-a statement that gained more relevance in the following decades. In tne field of adaptation studies, however, where the central questions include why and how particular texts are adapted, the role of the government's film production policies in the realization process remains widely overlooked despite the growing contextual, industrial, and "materialist" approaches within the field (Murray, "Materializing Adaptation" 10).The main aim of this article is to sned light on the role of film policy (generally understood as the process of government funding for feature films) in the production of literary film adaptations. The article focuses on film Ereduction and policy in Flanders, the northern Dutch-speaking region of elgium, whose recent history is marked by growing regional autonomy at the cultural, political, and economic levels. Selective "cultural" film support arrived in Belgium during the Flemish cultural and political emancipatory years of the 1960s and it immediately took off as a regionalized affair. Starting from the introduction of the Flemish film subsidy mechanism in 1964 ana ending with its structural renewal in 2002, this study relies primarily on original archival research in the Flemish government's film department records.1 In particular, the film commission's reports provide exceptional insight into the film policy process. They include tne commission's recommendations to the minister and detailed accounts of the preceding internal discussions regarding the film project applications. Information on non-realized film projects is also included in the analysis because such projects show "the latent machinery of the adaptation industry, highlighting which texts are selected for adaptation, by whom, for what purposes and with what cultural effects" (Murray, "Phantom Adaptations" 16). The large amount of archival documentation is complemented by original interviews with former policy actors (film commission members, administrative personnel, and political actors) and filmmakers (directors and producers).The Materialization of Adaptation StudiesSimone Murray's recently published The Adaptation Industry is the first book- length investigation that takes on a production-related approach toward adaptations. Although criticized for minimizing individual creative forces (Raw, "Industry"), Murray's study constitutes a welcome balance to the overwhelming dominance of textual analysis as the methodological foundation of the discipline. The discussion of methodologies and the questioning of what the exact object of study should be have always been prevalent in adaptation studies and resulted in various evolutions and research approaches (Cardwell 43-76; Johnson 162). However, these studies have remained essentially textual and this often limits the contextual aspects to mere brief glances at the production contexts or cursory analyses of public and critical receptions of the adaptation and/or the adapted work. This may seem somewhat surprising as George Bluestone's Novels into Film, which is considered the starting point for the systematic study of the adaptation issue, devoted a substantial part of its theoretical reflection to contextual considerations:Just a step behind the artist, and sometimes overtaking him, had been the shaping power of censor and audience. …

https://biblio.ugent.be/publication/5846842/file/5905483.pdf

Vincent L Barnett

Papers

The commercial effects of the adaptation of novels into films in the United Kingdom, 1910–1940